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How to Make Jewelry 



By GEORGE S. OVERTON 



PRACTICAL INSTRUC- 
TIONS FROM A PRAC- 
TICAL MANUFACTUR- 
ING JEWELER 



Being Articles Reprinted from 
The Manufacturing Jeweler." 



« • 

9 9 * 



Providence, R. I. 

WALTER B. FROST £&. COMPANY 

42 Weybosset Street 

1914 



f 



..' 



.Oss 



Copyright 

by Walter B. Frost 

1914 




OCT I0I9I4 

©CI.A379955 
(, 



TABLE OF CONTENTS. 



How to Make jewelry. 

CHAPTER PAGE 

I. Designing of Jewelry i 

II. Hints on Melting 6 

III. The Alloying of Gold 10 

IV. Formulas for Alloys and Solders 14 

V. Getting out Plating Stock 19 

VI. Wire Drawing and Working 24 

VII. Making of Solders 26 

VIII. Solder and the Quality Stamp 30 

IX. The Soldering of Parts 34 

X. Tips on Soldering and Stone Setting 38 

XL Repairing Stone Set Work . . . . 42 

XII. Gilding with Electric Current 46 

XIII. Red Gilding 52 

XIV. Resists for Two-Color Work 56 

XV. Acid Coloring 59 

XVI. Precautions in the Coloring Room 64 

XVII. Silver and Its Alloys for Jewelry Work. . . 68 

XVIII. Solutions for Silver Plating 73 

XIX. Black and Gray Finishes on Silver 78 

XX. Gun Metal Finish 83 

XXI. Silver as a Base for Black Enamel 86 

XXII. Enameling of Jewelry 91 

XXIII. Enameling of Jewelry (Continued) 95 

XXIV. The Melting of Platinum 99 

XXV. Working in Platinum. . 103 



IV 



TABLE OF CONTENTS. 



How to Make Jewelry — Continued. 

CHAPTER PAGE 

XXVI. Working in Platinum (Continued), (illu- 

strated) 1 08 

XXVII. Recovery of Gold and Silver from Scrap. 113 

XXVIII. Refining Polishing Sweeps 119 

XXIX. Filtration of Washings (illustrated) 122 

XXX. Testing for Pure Gold 125 

XXXI. Keeping Track of Gold. ... .128 

XXXII. Figuring Shop Costs 131 

XXXIII. Reducing Labor Costs 135 

XXXIV. Time and Labor Savers 138 

XXXV. Some Shop Problems 141 

XXXVI. The Buying of Stones 144 

XXXVII. Making Pearl Jewelry (illustrated) 147 

XXXVIII. Drilling Pearls for Stringing (illustrated). . 1 53 

XXXIX. Ring Making (illustrated) 159 

XL. Sizing and Soldering of Rings (illustrated) . 1 64 

XLI. Chain Making (illustrated) 167 

XLII. Making Flower Work (illustrated) 171 

XLIII. Making a Line of Pins 176 

XLIV. Horseshoe Jewelry, (illustrated) 181 

XLV. The Maltese Cross inEmblems(illustrated).i87 

XLVI. Some Attractive Novelties (illustrated) ... 190 

XLVII. Making Eyeglass Frames (illustrated) . . . . 194 

XLVIII. Hints on Soldering 198 

XLIX. Polishing and Burnishing. . . 216 

Appendix. Practical Hints for Working Jewelers. . . .202 

Index to Topics 220 



PREFACE. 



O 

IN publishing a weekly trade paper, a host of material 
comes to the editor's desk, and his success as the 
director of the publication lies chiefly in winnowing the 
wheat from the chaff. The great task of an editor of a 
jewelry trade paper is to secure accurate technical arti- 
cles which do not show on their face the traces of being 
copied from old and perhaps obsolete works. In the 
course of a long apprenticeship at the editor's desk in 
the office of The Manufacturing Jeweler, I have 
learned that the men who have the technical knowledge 
either will not impart it to the world, or else they lack 
the proper powers of expression. This is the general 
rule, but once in a while there is an exception. The 
present volume is a case in point. 

When the first few of these articles were offered to 
The Manufacturing Jeweler for weekly publication, 
I did not realize their true value, and did not expect 
the series to be prolonged. Gradually, however, I saw 
that a master of jewelry technique was divulging infor- 
mation of incalculable value, both to the beginner and to 
the experienced jeweler. My own views were soon re- 
inforced by emphatic protests against continuing the 
articles from one of the largest manufacturers of gold 
jewelry, on the plea that Mr. Overton was giving away 
trade secrets. Threats of legal action were also made. 



vi PREFACE. 



Mr. Overton's experience has been chiefly as foreman 
and superintendent of gold shops, and therefore this 
book deals largely with the making of jewelry from the 
precious metals. As the book developed, however, sup- 
plementary instructions relative to making work in rolled 
plate were inserted. Real jewelry is, of course, made of 
the precious metals, and if one is fully competent to 
make such jewelry, the knowledge of how to make goods 
in brass or rolled plate can be acquired very easily. 

In preparing Mr. Overton's articles for publication in 
book form, they have been carefully edited, rearranged 
in suitable order, and one entirely new chapter added. 
An elaborate cross index has been made and inserted in 
the closing pages of the book. 

We have had many requests for the articles in per- 
manent form, and believe that this book will soon come 
to be regarded as a standard. There is no other work, 
either in England or America, which deals with the sub- 
ject of jewelry-making in so complete, detailed and in- 
forming a manner. 

WALTER B. FROST. 

Providence, R. I., September, 1914. 



HOW TO MAKE JEWELRY 



CHAPTER I. 



DESIGNING. 

New Designs Needed Every Day — A Large Demand for Com- 
petent Designers — Material Necessary for Work — How 
to Make Tracings — Colors that Go with Different 
Stones — How to Get Ideas for New Designs. 

THE manufacture of jewelry has now reached a stage 
where new and original ideas in novelties are be- 
ing constantly demanded and expected. New 
adaptations of conventional designs, flowers, horseshoes, 
in combination with some fancy ornament, etc., will, if 
strikingly original, always find a market. As a conse- 
quence there is a large field for designers, and within the 
last fifteen years a host of young men and women, learn- 
ing of the large salaries paid to some designers, have ac- 
quired a little ''taste" and the rudiments of drawing, and, 
armed with a few samples of their "art," are boldly seek- 
ing positions as designers of jewelry, usually expecting 
unreasonable salaries. And like the graduate from a 
three months' course at the business college — -"there is 
nothing to it." 

The best designers, in nearly every instance, are those 
recruited from the ranks, who have served their time as 
jewelers, and who have a natural bent for sketching. 
The apprenticeship at the bench has taught them the prac- 
tical side, at the same time familiarizing them with detail, 
knowledge of construction, etc., so they may later be in a 
position to explain, or to superintend, the carrying out of 
their own ideas. The writer has been in contact with, 
and has employed, designers who could draw and paint 
beautifully, and who could successfully carry out ideas 



HOW TO MAKE JEWELRY. 



furnished them. On the other hand, commission them to 
make an original design, limited to so many stones, etc., 
and to be a certain size, and they were lost, having no 
practical knowledge of thickness, setting or construction. 
It is safe to assume that these same young people would 
not seek jobs as designers of elevators, dynamos, or bat- 
tleships, and yet they are as well fitted for these voca- 
tions. An attractive design can be sometimes altered and 
made practical by the workman ; this, however, is a poor 
haphazard business, as you never know just what you are 
going to get. In this connection I am reminded of a 
story told by an old-time, but well known manufacturer 
of fine jewelry. The customer was describing to the 
salesman in the store a brooch she had in mind and 
"wished to have made. Glancing into the showcase she 
pointed to a brooch and said, "Something like that," and 
mentioned a few changes. Later, the wholesale man 
called, and the salesman gave him the order, describing 
what the customer wanted, as he remembered it. The 
wholesale man returned to the office, handed along the 
order to the office order man, who sent it to the factory 
superintendent ; he selected a workman, and giving him 
the instructions with his interpretation of same, the pin 
in the natural course of events was finished and sent to 
the store. When the lady was shown the pin she ex- 
claimed, "I ordered a brooch, not a jew's-harp!" 

Have a sketch exactly as you want the finished article 
to be furnished the workman, and he will have no ex- 
cuse to offer. 

Make practical designs. A brooch should be drawn 
with plenty of strength and enough surface to hide the 
joint and catch. A pendant can be much more delicately 
drawn. Always make the sketch so that no extra scroll 
has to be "plastered" on afterwards. 

There are very pretty delicate little effects in* jewelry 
in the stores, lots of them impractical. The sale of such 
is restricted while the substantial, commonsense article 
sells over and over again. 



HOW TO MAKE JEWELRY 



There are numbers of boys and men working in jew- 
elry factories who very likely have a latent ability for 
designing, and are hesitating because they don't know 
just how to go at it. To these the writer gives here a 
few tips, gathered during some twenty-five years of ex- 
perience in large jewelry factories, several of which as 
designer and superintendent. 

Get a cheap pad and pencil and a catalogue of jewelry 
designs, start copying them. Always draw a line up and 
a line across at right angles ; this gets a center and helps 
in the correct spacing, etc. Don't use the rubber too 
much ; start fresh drawing ; ideas will suggest themselves 
as you go along. Take a sunburst, see if you cannot make 
the scrolls run a little different, or try to draw a little or- 
namentation in a pearl crescent ; attend drawing school ; 
learn to model (although not absolutely necessary) ; try 
to be original, and always practical. As you improve get 
different hardnesses of pencils. Hardtmuth pencils up to 
6 H. are excellent; also Fabers ; use a red (ruby) rub- 
ber, kept clean ; the design should always be clean, not 
smudgy. When you get a pin, or something drawn that 
looks pretty good on your pad, go over it with a pen and 
ink ; let it dry, and rub all pencil marks off, leaving the 
ink tracing standing out clean. Now get some tracing 
paper at the stationer's, about a yard for twenty-five 
cents, enough to last a year ; cut into convenient sizes and 
keep in an old book ; take a piece and after lining up and 
across, carefully trace your design ; if quite tedious, the 
tracing paper is fastened to pad with a little drop of mu- 
cilage at each corner. Watch for any imperfections in 
spacing or where a scroll could be more rounded, etc. 
Now remove and place on a card your tracing, with the 
lead pencil side on the card, and carefully go over the re- 
verse side with a harder pencil, and upon removing, the 
design is found transferred on the card; examine care- 
fully to see that drawing is correct before putting on 
finishing touches, shading, etc., and coloring. 

Get a water color box for about one dollar, with a half- 



HOW TO MAKE JEWELRY. 



dozen red sable brushes, fine and pointed. We will sup- 
pose the pin is gold, rose finished. First, go over the 
design with a pale wash of gamboge; let it dry, then 
shade, using yellow ochre, always remembering that the 
most prominent scrolls are the most strongly shaded. 
This throws them up, making them stand out from the 
background. A little burnt sienna is painted in recesses 
to give the rose finish effect. Do not be discouraged if 
you get too much color on. Make another tracing on 
another card. Stick at it and you will succeed. The 
very highest points of the scrolls are brought out by a 
touch of Chinese white, bought in tubes and rubbed up 
with a little water. After drying, lightly moisten with 
a little pale chrome yellow. In colors for stones the 
Chinese white is background for the diamond or pearl, 
shading and lining with sepia mixed with the white. Co- 
balt, shaded and lined with Indigo blue for sapphires ; 
carmine red, mixed with cobalt is an excellent amethyst 
color; emerald green, shaded with sap green for green 
stones, and the yellow colors before mentioned for the 
topaz, etc. All of these stones are made to "stand" out 
better by the judicious use of the lead pencil to sharpen 
up the point of division between the light and shade and 
also to mark off facets. A few specks of the Chinese 
white is applied on the side of stone not shaded. Bear 
in mind that all colors are first applied as a faint wash, 
the shading and faceting applied after to get best results! 
Go to the library of your town, look over books of ar- 
chitecture and decorative designs. Some beautiful de- 
signs are gotten from looking over patterns in wall pa- 
per. Note the carving of the masonry on public build- 
ings. Get books and the latest plates of designs of jew- 
elry from abroad. H. C. Perleberg, jewelry designs, ler- 
sey City, makes a business of getting original plates, pho- 
tographing them and selling copies to the trade. 
_ Bruno Hessling, 64 East 12th street, New York, deals 
m books of designs covering the prehistoric period. 
Egyptian, Indian, Roman, Chinese, and many others, 



HOW TO MAKE JEWELRY. 



down to the modern ornament of the renaissance, rococo, 
the Colonial style of the United States, etc. Some jew- 
elry houses originate, others are content to be trailers. 
Good ideas are also gotten by examining fine pieces of 
jewelry in the first-class stores. Where convenient, the 
designer should make the trip to New York occasionally, 
and inspect the goods on display at the downtown stores 
and along Fifth avenue. This is not done with the idea 
of copying, but to furnish ideas and to keep one up to 
date. 

Some of the larger jewelry manufacturing firms em- 
ploy two and even three designers ; one of them usually 
kept pretty busy on painted sketches of regular goods. 
These are often sent in place of the real articles on a 
"memo" or consignment order, thereby keeping stock in- 
tact and ready for quick delivery on a bona fide, order. 

A retail salesman can make himself more valuable by 
being able to make a sketch, carrying out customers'* 
ideas; in fact, some of the larger stores throughout the 
country employ regular designers. For all designs for 
painting a pearl gray colored card is most suitable. Whit* 
cards may be used for pencil sketches or gold work. 
These cards can be purchased cut to any size from any 
paper house. 



HOW TO MAKE JEWELRY. 



CHAPTER II. 



HINTS ON MELTING. 
How to Obtain Clean, Smooth Ingots— Crucibles Must be 
Warmed — Placing the Ingredients — Use of Sal Am- 
moniac and Charcoal — Importance of Thorough Mixing — 
Casting the Ingot — Location of Melting Room — A"Kink" 
in Wire Coiling — Silver Melting. 

IT is just as easy to get a good, clean, smooth ingot of 
gold or silver as it is a bar that is full of holes, 
grooves or blisters. The poor "melts" are gotten by 
indifferent or careless workmen, who figure that the sub- 
sequent rolling will smooth out everything. As a matter 
of fact, where the bar is uneven the thinner spots simply 
stretch, and after rolling to a certain thickness, your plate 
is full of seams, or cracks and holes, necessitating a cut- 
ting out of these portions for remelting. This, of 
course, is double work and a useless waste of crucibles 
and gas, to say nothing of the time. Then again the 
melter may not have a technical knowledge of the prin- 
ciples of melting and is simply following some formula 
furnished him, or that he has acquired, or he has drifted 
into the melting room by force of circumstances. To 
those manufacturers and melters who have met with va- 
rying results, the writer proposes to give some little 
''kinks." 

All crucibles, whether sand or black lead, should be 
first warmed before placing the metal in for melting. 
The alloy should be put in first, then the copper, then sil- 
ver and lastly the gold. The reasons for this are, first, 
that the alloy and the copper melt first, and secondly, 
they are protected by the silver and gold from contact 
with the gases of the furnace, thus greatly eliminating 
oxides from being formed. Sal ammoniac and pow- 



HOW TO MAKE JEWELRY. 



dered charcoal are the agents used. The official melter 
of the United States assay office at New York uses pow- 
dered sal ammoniac and a very fine powder of charcoal 
which he obtains from the collections on the beams of 
his melting room. The powdered sal ammoniac is prob- 
ably bought fresh often, hence is as good as the lump 
form. For the average jeweler the lump is better as the 
strength remains in longer, a little piece being broken off 
and pulverized as needed. For charcoal the powdered 
willow, purchased from leading drug stores is as good 
as any. Berge, of New York (the crucible manufac- 
turer), handles a charcoal powder which is very good, 
but under a good stiff flame blows out of the furnace to 
a great extent and is wasted. It is also a trifle more ex- 
pensive than the willow charcoal. 

The sal ammoniac should be mixed with the charcoal 
in about equal proportions and enough should be put on 
top of the gold to cover well before placing in the fur- 
nace. Have flame just show through the cover, starting 
rather scant and increasing the force just as metal is 
melting. Add a little more of the sal ammoniac and 
charcoal. When the gold begins to sink to the bottom of 
the crucible showing that the other metals are melted, it 
should be gently pressed down with an iron rod. Some- 
times the gold, especially if it is in plate form, will stick 
for some time as a sort of roof before finally dropping 
of its own accord into the molten mass in the crucible. 
As soon as it is melted, which is ascertained by insert- 
ing an iron rod or poker, the mass is well stirred. 

Right here the writer wishes to emphasize the neces- 
sity of thoroughly mixing the melts. The old-time incit- 
ers swear by the rolling down of the stock and cutting 
up of same and remelting to get a perfect alloy. This 
method undoubtedly helps, but is slow, involving as it 
does a double melting. Stir the liquid mass well, two or 
three times, or even more, keeping it well covered with 
charcoal. First stir to the right, then rapidly to the left, 
and then pour rapidly into your plate or wire ingot. In 



HOW TO MAKE JEWELRY. 



case of 18-karat gold do not pour too hot; let the cruci- 
ble commence to show a dull, almost blackish-red be- 
fore pouring. The 14-karat alloys and lower should be 
poured as quickly as possible to prevent the base metals 
from oxidizing by contact with the air. Just before pour- 
ing some melters blow in a pinch of saltpetre, placed in 
the end of a long brass tube. This clears up the surface 
of the molten metal and perhaps helps a little in getting 
a cleaner ingot. 

The ingot should be well warmed and just moistened 
with oil to prevent the gold from sticking. Avoid an ex- 
cess of oil as it will cause holes or fissures in your bar. 
In getting bars for wire the writer recommends the open 
wire ingot. The bar should be well hammered, with an- 
nealings frequently to prevent cracks. In 18-karat do 
not anneal until you have given the gold two or three 
very heavy drafts in rolls to close the grain. The 14- 
karat or less should be lightly rolled, and annealed often 
at first. 

The farther away, or the better protected the melting 
room is from drafts or windows, the better will be the 
general results. The adding of saltpetre is very hard on 
the crucibles and is hardly worth while in the long run. 
An old pair of canvas gloves will be found handy in fa- 
cilitating the handling of the furnace cover, ingots, etc. 

In rolling wire it may be interesting to the beginner to 
know that a close, even coil is obtained for annealing, 
or for convenience in putting in gold box, by pulling the 
end of wire back over the top roll. When the wire has 
all passed through, an even coil of about the diameter of 
the roll is the result. It is surprising that a number of 
melters to-day who have been in the business for years 
have not gotten on to this little "stunt" and are still bend- 
ing the long strip into a coil by hand, getting an uneven 
coil and risking burning or melting the projecting strands 
in the subsequent annealing. 

Silver is melted pretty much like 18-karat gold. The 
points to remember are, that it should not be poured any 



HOW TO MAKE JEWELRY. 



hotter than is necessary and that it should be well stirred 
with an iron poker. Borax is used in place of sal am- 
moniac; keep extra well covered with charcoal, add a 
little more borax as soon as silver is melted. Poke or 
shove the borax under the charcoal with a long, narrow 
pair of tongs. The ingot should be just hot enough to 
permit of the finger just touching it for a moment. 
Melted silver will soak up the air as a blotting paper 
will ink, so' pour as rapidly as possible. In annealing 
after rolling do not get too bright a red heat, as this will 
cause air blisters, condemning many a good bar that un- 
til then had been all right. 



io HOW TO MAKE JEWELRY. 



CHAPTER III. 



THE ALLOYING OF GOLD. 

Gold Above 18-Karat Used Only for Special Order Work — 
Variegated Gold Work — Alloys for Yellow, Green and 
Red Gold— High Grade Stock for Enamel Work— Hard 
and Soft Alloys — Standard io-Karat Formula — Copper 
Shot vs. Copper Wire. 

GOLD of a quality better than 18-karat is seldom used 
in the manufacture of jewelry, and then only on 
special order work. The so-called variegated gold 

work, wherein is seen say, a fancy bracelet, ornamented 
with green, yellow, red, or blue (platinum) trimming, is 
made by cutting out the shapes and sweating them on to a 
plate of gold. 

These little ornaments may be cut out in the foot press 
or shears, as desired, and are usually cut out of 20 stock, 
dial screw gauge, and soldered oil a back of 40 stock. Af- 
ter soldering, of course using best grade hi solder for this 
work, the plate is put in the drop press and a sharp blow 
flattens and gives a smooth blended effect. The piece of 
stock is now ready to be shaped into any pattern desired. 
In leaf or flower work, where the petals or leaves are of 
one color gold, the edges only showing variegation, the 
stock is made by taking a plate of gold 600 points thick for 
the backing, and soldering on the green, yellow and red in 
strips 250 points thick, then rolling down to the desired 
thickness, 60 points being customary for leaf and small 
work. In order to break the straight line effect where one 
color is joined to the other, after rolling, little odd shapes 
or zig zag pellets of green, red or yellow gold are applied 
on the seam and soldered, a sharp blow under the drop 
hammer blending them in flush. Fine wires of platinum, 
used in "veining" leaves, are also applied in this way. 



HOW TO MAKE JEWELRY. n 

Years ago blue gold, an alloy of 18 parts gold and 6 of 
iron was used in place of the platinum. 

Some houses use fine or 24-karat for yellow gold. A 
22-karat made of 22 pennyweights fine gold, i}i penny- 
weights silver, and % pennyweight copper shows up as 
well and is of course not quite so expensive. Green gold 
is made of various proportions of gold and silver, 19 
pennyweights of gold to 5 of silver giving a very deep, 
rich green. For most purposes, however, an alloy of 1 7 
pennyweights of fine gold to 7 pennyweights of silver is 
used. The red gold lasting the longest in lustre and pre- 
senting the best finish is made of 22 parts gold to 2 of best 
shot copper, but all proportions are used and an alloy of 
14 parts gold to 10 of copper is frequently employed. The 
writer does not advise using less than 18-karat red gold 
or 18 parts gold to 6 of copper, as under some conditions 
the alloyed metal will turn black. 

Houses making 14-karat jewelry use different qualities 
of stock for the backing. Some figure that a 12-karat 
back will average up the 22-karat, 18-karat, or 17-karat 
front, as the case may be, so that if goods were assayed 
the test would show 14-karat as per stamp. Others, to 
be on the safe side, use a plump 14-karat backing. Of 
course, there is the solder (usually about 12-karat) 
which must be reckoned with. However, as the vari-col- 
ored front is seldom or never less than 17-karat for the 
green and 22-karat for the yellow, a backing of 12^/2- 
karats will assay 14-karat in most cases. A large manu- 
facturer of 10-karat goods with green gold (18-karat) 
front uses a back stock of 8-karat and finds his scrap to 
stand the 10-karat test. 

Speaking of green gold, the writer noticed an alloy 
published in a New York journal for 9-karat green gold. 
As this color is made of gold and silver in which the gold 
must be in excess of the silver, any alloy less than 12- 
karat (12 parts gold to 12 silver) is simply a white gold 
and of no use for commercial purposes. The lowest 
quality which will look green is 17-karat, as before said. 



i2 HOW TO MAKE JEWELRY. 

An 18-karat alloy much used to-day in fine diamond 
work, is made of 18 parts gold, 4 parts silver and 2 of 
copper. This is a very rich yellow. To get a red, simply 
reverse the figures of the silver and copper. In the mak- 
ing of enamel work, certain jewelers, in order to reduce 
the danger of chipping or breaking of the enamel, have 
used high alloys of gold, in some instances even fine or 
pure gold, figuring that they are in pocket by eliminating 
the frequent cost of re-enameling. This, in the case of 
painted work or finely veined and shaded flower work, 
where probably the labor is mostly in the enameling and 
painting, is a practical move and is thoroughly com- 
mended. On the other hand, there is a tendency some- 
times on the part of the manufacturer to make every- 
thing of the higher alloy for enamel goods, and here is 
where he is going to the bad. One concern, employing 
indifferent help, went behind considerably by indiscrim- 
inately using a 15-karat alloy for their enamel goods and 
stamping it 14-karat. The fact that it was figured as 15- 
karat simply caused the customer to wonder at the cost 
of the goods and to look elsewhere when buying. 

An alloy of 14-karat for enameling of 14 parts gold, 
7 of silver and 3 of copper is recommended for all plain 
work, and is used for painted flower work in some shops . 
as well. For shell or die work, ot* for work requiring 
bending or shaping, a 14-karat polished alloy is made of 
14 parts gold, 3 parts silver, 2 of copper and 5 of pale 
Guinea alloy. This alloy needs melting only once, and 
the scrap should be added to a fresh alloy for remelting. 

A tough alloy, excellent for knife edge, screw wire, or 
open work, is 14 parts gold, 4 of silver, and 6 of copper. 
This should be melted twice to thoroughly mix. A very 
hard 14-karat alloy, suitable for bracelet .snaps, pin 
tongue stems or stiffening pieces, is, fine gold, J4 parts; 
silver, 4^ parts ; copper and pale Guinea alloy, 2^ parts 
each; total, 24. Another used to-day is, 14 parts gold, 
with 5 parts each of silver and copper. A point to re- 
member in the making of alloys is that the nearer* the 



HOW TO MAKE JEWELRY. 13 

proportions the alloys approach one another the harder 
will be the alloy, so that if an equal amount of silver and 
copper be found to be too hard the alloy may be made 
softer by using less copper, adding the amount taken off 
to the silver. 

In the matter of alloys, there are a number on the 
market : thus we read of red gold alloy, pale yellow, pale 
gold, Guinea gold and others. The writer has found 
these very useful where gold is first alloyed melting only 
once. But where there is a quantity of scrap to be re- 
melted (and it is not desired to add fresh gold), the re- 
sultant melts, especially if in wire form, are hard and 
brittle and a fierce thing to get up against. This is un- 
doubtedly due to the zinc or other volatile metals used 
in the making of these alloys, the repeated melting burn- 
ing them out. 

A very good 10-karat alloy that works well for nearly 
all purposes and stands remelting by reason of the small 
quantity of alloy used, is, fine gold, 10 parts; silver, 3 
parts ; copper, 7 parts and pale gold alloy, 4 parts. An- 
other 10-karat pale gold, usei for half-pearl work and 
for enameling, is, fine gold, y o parts; silver, 6 parts; cop- 
per, 2 parts and alloy, "6 pa. is. This last has a tendency 
to get hard and cracky during remelting, and should al- 
ways be mixed with a nev, melt. 

Some jewelers prefe* to use the purified shot copper 
for everything in whira they use copper. Others use it 
in wire form, and there are still other manufacturers who 
insist that the shot is best for polished gold work, while 
the wire is the better for enamel work and for the mak- 
ing of solders. The writer uses the wire for all alloys, 
finding that the solder flows better. Certainly the form 
of copper that tht^ most readily blends with the gold, 
either for polished or enamel work, should be used. The 
only argument in favor of using shot copper is that it is 
not (within a fin>e point or two) quite so apt to melt when 
being soldered. 



i4 HOW TO MAKE JEWELRY 



CHAPTER IV. 



FORMULAS FOR ALLOYS AND SOLDERS. 
Formulas for Gold of Differing Fineness and Color and for 
Different Uses — Alloys for Enamel Work — A System of 
Compounding Alloys for Special Work — Reliable Solder 
Alloys of Different Qualities — Use Highest Grade for 
Work to be Enameled. 

FIXE gold is, as we know, 24-karats, therefore, all al- 
loys are fractions ; 18-kt. being 18-24, 14-kt., 14-24, 
and so on. In 24 dwts. of 18-kt. gold we have 18 

dwts. of pure gold and 6 dwts. of alloy. In 14-kt., 14 
dwts. of fine gold, and 10 dwts. of alloy. 

In 236 dwts, of 18-kt. gold we know that 18-24 or y± 
of the amount is fine gold, viz.: 236x^4 equals 177 
dwts. of fine gold. 

The foregoing example:' will be better understood in 
the talk on refining and su L sequent recovery of the fine 
gold which will be taken up in other chapters. The 
whole principle in the making of the different karats 
of gold is to simply take firs: the number of parts of 
fine gold indicating the karat quality, and adding al- 
loys of silver, copper, etc., to mike up 24 ; as in 14-kt. 
we take 14 parts fine gold and 10 parts alloy. 

While some manufacturers whom the writer has talked 
with claim that they can mix their alloys better by using 
the 100 parts fine gold, adding the proper proportions 01 
alloy to make the different karats fineness, yet he (the 
writer) finds in the long run the previous system works 
out the best. 

Below are given alloys for different karat gold in use 
to-day in variegated gold goods, in Roman gold, and pale 
gold (14-kt.) for enameling and paving with half-pearls, 
and also in 18-kt. pale gold. 



HOW TO MAKE JEWELRY. 15 



22-kt. yellow gold alloy. Fine gold, 22 parts, or 22 
dwts. ; fine silver, 1^/4 parts, or 1 dwt., 18 grs. ; fine cop- 
per, % part, 6 grs. ; total, 24 parts, 24 dwts. 

18-kt. pale gold alloy as used in Paris and adopted by 
some of the manufacturers in the United States. This 
takes a very rich, delicate polish and is well adapted for 
enameling in fine, transparent enamels. Fine gold, i&- 
parts ; fine silver, 4 parts ; fine copper, 2 parts. 

18-kt. red gold, used in variegated gold jewelry. Fine 
gold, 18 parts ; fine copper, 6 parts. 

18-kt. polished gold. Fine gold, 18 parts; fine silver, 
2 parts; fine copper, 4 parts. 

17-kt. green gold. Fine gold, 17 parts; fine silver, 7 
parts. 

14-kt. pale gold for enameling and for pearl set 
(paved) jewelry. Fine gold, 14 parts; fine silver, 7 parts; 
fine copper, 3 parts. 

14-kt. polished gold, also for gilding, rose finish, green 
finish, etc. Fine gold, 14 parts; fine silver, 3 parts; fine 
copper, 2 parts ; pale Guinea alloy, 5 parts. 

14-kt. hard wire suitable for scarf pin stems, bracelet 
snaps, etc. Fine gold, 14 parts, or 14 dwts. ; fine silver, 
4^2 parts, or 4 dwts., 12 grs.; fine copper, 2^4 parts, or 2 
dwts., 18 grs. ; Guinea alloy, 2^/4. parts, or 2 dwts., 18 grs. 

10-kt. for polished or Roman gold. Fine gold, 10 parts; 
fine silver, 3 parts ; fine copper, 7 parts ; Guinea alloy, 4 
parts. 

10-kt. for pearl pave or close set. Fine gold, 10 parts; 
fine silver, 6 parts ; fine copper, 2 parts ; Guinea alloy, 6 
parts. 

The 17-kt. green gold alloy given is used to-day by a 
manufacturer of variegated color gold jewelry, never- 
theless, by reason of the amount of silver it contains it 
tarnishes more quickly than a higher quality alloy. An 
anode of 20 parts fine gold and 5 parts silver is used in 
the green gold gilding solution, and the same alloy, while, 
oi course, more expensive than the 17-kt. alloy, yet is 
more beautiful in finish and is more lasting. This alloy 



16 HOW TO MAKE JEWELRY. 

is 19 1-5-kts. ; 18 parts of fine gold and 6 of silver makes 
also a very good green gold. 

The writer has found that for certain pieces of enamel 
work it has paid, in the long run, to have a little higher 
quality alloy used. Take, for instance, a double English 
violet, to be painted in fancy shades to match some piece 
sent by the customer. Under ordinary conditions the 
regular 14-kt. alloy is used, but in this case the number 
of firings contingent upon getting the exact shade often 
hardens the alloy, burns the copper, causing oxides, etc., 
which a little higher karat gold, while costing a little more, 
will more than offset by the saving in time and labor. 
Here is a 15-kt. alloy that is used and recommended: 
Fine gold, 15 parts; fine silver, 6y 2 parts; fine copper, 
2^ parts. The writer does not advocate the using of the 
15-kt. only under the above conditions, as the 14-kt. alloy 
given is excellent for all enamel work, and if enamel does 
not stay on, chips, flies off, etc., there is some fault in the 
melting, or in the quality of the copper or silver. 

The following are a few reliable solder alloys for use 
with different qualities of gold: 

15-kt. solder suitable for 18-kt. gold. Fine gold, 15 
parts, or 15 dwts. ; fine silver, 5^ parts, or 5 dwts., 12 
grs. ; fine copper wire, 3^2 parts, or 3 dwts., 12 grs. 

12-kt. solder for 14-kt. and 15-kt. gold. Fine gold, 12 
parts; fine silver, 7 parts; fine copper wire, 5 parts; just 
before pouring add about 8 grs. cadmium or zinc. 

10-kt. solder for 14-kt. and 15-kt. work, used in solder- 
ing on subsequent parts where article might be spoiled by 
the further use of the 12-kt. solder. Fine gold, 10 parts, 
or 10 dwts. ; fine silver, 81-6 parts, or 8 dwts., 4 grs. ; fine 
copper wire, 5 5-6 parts, or 5 dwts., 20 grs. Add 16 grs. 
cadmium or zinc just before pouring. 

8-kt. solder used in the last soldering on 14-kt. polished 
gold work. Fine gold, 8 parts ; fine silver, 9 1-3 parts ; 
fine copper wire, 62-3 parts. Add 1 dwt. cadmium or 
zinc just before pouring. 

6-kt. solder. Fine gold, 6 parts ; fine silver, 9 parts ; 



HOW TO MAKE JEWELRY. M 



fine copper wire, 6y 2 parts; brass wire, 2j/ 2 parts. Add 
brass after rest is melted and just before pouring. 

,4-kt. solder, used in repairing and in low grade and 
doubtful quality of gold. Fine gold, 4 parts ; fine silver, 
gy 2 parts ; fine copper wire, 7 parts ; brass wire, zV^ parts. 
Add brass last, as in other alloys. 

In all work to be enameled over the solder seam or 
joint, it is imperative that the highest possible quality al- 
loy solder be used. All of the solder alloys given are used 
to-day by large concerns, and while the writer has ex- 
perimented with "cyanide" solders, also a special alloy 
supplied by a maker of a certain alloy which is mixed 
with the same karat gold as the work in hand, the special 
alloy burning out on soldering, leaving absolutely no ap- 
parent joint, yet these last are not practical for all kinds 
of work, and are well out of the way. If a 14-kt. enamel 
gold ball macje out of two halves is properly soldered 
with the 12-kt. solder it will stand enameling. 

The 8-kt. and 6-kt. solders are for the 10-kt. alloys. 
Would advise using the 4-kt. solder very sparingly, as it 
is obvious that by reason of the small amount of gold 
used it will tarnish quickly, even under heavy gilding. It 
is readily seen that with all the correct proportions before 
us of the different karats of gold, solders, etc., it is an 
easy matter to get out any desired quantity by simply 
multiplying all the items by the same multiple. For in- 
stance, if we wish to get out a bar of 14-kt. enamel gold, 
say about 240 dwts., we proceed as follows : Fine gold, 
14x10, equals. 140 parts, or dwts.; fine silver, 7x10, 
equals 70 parts, or dwts. ; fine copper, 3x10, equals 30 
parts, or dwts. Total, 240 parts, or dwts. 

The writer advises always weighing the fine gold off 
the scales first, then putting on the silver and adding the 
copper to make up 100. This prevents possible errors; 
we know we have 140 parts of fine gold and 100 parts of 
alloy. With these formulas furnished, it is comparatively 
easy for the jeweler to compound other alloys for his 
particular work. For instance, for work not to be enam- 



1 8 HOW TO MAKE JEWELRY. 

eled, a solder of n parts fine gold and 13 parts alloy may 
be used, and a 9-kt. solder may be also made, adding the 
extra silver and copper, so that proportions are not ma- 
terially altered. 



HOW TO MAKE JEWELRY. 19 



CHAPTER V. 



GETTING OUT PLATING STOCK. 
A Particular Piece of Work When Bars Are of Good Size — 
Care Necessary in Annealing — Work Must Be Absolutely 
Clean — Tubing for Bracelets — Eating Out with Acid — 
Keep Close Watch of 10-Karat Goods. 

TO successfully get out plating stock is a little more 
difficult than would seem to the average beginner 
in this branch of the making of jewelry. The main 
points, however, are to have the two metals to be soldered 
together face up true (no wobble) and be perfectly clean. 
Now the man who gets out a small piece of stock for a 
small job will very likely say, "It's a cinch," and he possi- 
bly will find- it so ; but let him prepare a bar of some seven 
inches in length by about two in width, the base metal or 
composition 1425 points thick and the gold 475 points 
making a combined thickness of half an inch, and he 
will have some job on his hands. Before the seamless 
tubing came to be almost universally used in the mak- 
ing of bracelets, bangles, and some other jewelry, the 
factories made their own tubing out of plate, hence 
the necessity for plated stock on a large scale. While 
still later methods are now employed in the bending 
up of hollow work, yet the plated stock will always be 
necessary in the making of certain goods. 

Brass, copper and other base metals are sometimes 
used as the backing, but there is a special plater's 
metal sold by the American Oil and Supply Co., of 
Newark, N. J., which eats out readily in the acid and 
is specially prepared for this purpose. If a sufficient 
number of bars be purchased, you can have them cut 
any length and width or thickness desired. This is 
a point worth remembering in the getting out of 
stock, to so utilize the material as to use all, or nearly 



zo HOW TO MAKE JEWELRY 



all, and avoid the frequent refinings necessary to re- 
cover the gold. Concerns specializing on hollow work 
make a variety of goods, so that a narrow strip left 
over after cutting off a bangle may be drawn into hol- 
low wire for knot brooches or scarf pins, chatelaine 
pins, etc. 

The gold and the base metal plates after being 
rolled the thickness before mentioned, are placed to- 
gether in a piece of sheet iron exactly the same length 
and which has been bent up 'U' shape leaving one 
side of the 'U' longer for convenience in handling with 
the tongs, and placed in the furnace for annealing. A 
large vise should be near at hand, the jaws of which 
are fitted with steel plates about 5-16 in. thick and at 
least as long and wide as the plated stock. When the 
metals are red, remove and place in vise and screw up 
tight. Care must be taken not to get too hot, running 
the risk of perhaps melting the gold, or partly burn- 
ing in on the base metal. 

After removing from the vise, the plates are boiled 
out in dilute sulphuric acid "pickle," dried and filed 
with a clean file. From now on the greatest care must 
be taken in order to avoid getting even a blush of 
grease on the plates. See that your rasp or file is not 
oily, nor has a fleck of beeswax on it. The plates 
should be handled with tissue paper to keep from the 
touch of the fingers. After filing, go over with a sharp 
scraper and finally finish by describing a sort of lattice 
work with the point of the scraper. The solder is of 
plate, rolled as thin as possible, about five or six points 
in the dial screw gauge, scraped carefully, and after 
evenly painting over with well rubbed borax and 
water, to which a drop or two of grain alcohol may 
be added, is laid on the base metal in strips. 

The solder should be of the best quality; for 14- 
karat work 12-karat solder is used, and for 10-karat plat- 
ing 8-karat is the best. The reason for this is that 
lower grade solders tend to burn in and rot the alloy; 
furthermore, the joint or sweating is better with the 



HOW 'TO MAKE JEWELRY. 21 

high quality solder, it works better in rolling and 
stands up better in the eating out in the acid. The 
plater's metal is left a little wider than the gold and 
the solder projecting makes it easier to watch the 
soldering process! The gold bar placed on the base 
metal is put in between two iron plates of about % 
inch thickness the length and width of the stock;, 
bound tightly with heavy iron binding wire and placed 
in the muffler. An ordinary gas annealing furnace 
will do, but the gas of the muffler can be controlled 
and regulated much better. As soon as the solder 
runs remove at once, and, taking in tongs, place again 
in vise; remove and after boiling out, if directions are 
carefully followed, you should have a good bar of 
plating. The stock may be rolled to any thickness 
wished. It is usually gotten down to about 225 points 
for bangles and thinner for smaller work. The roll- 
ing and annealing should be done by a careful man; 
the latter is more frequent than in the case of all gold. 

Plated stock on a much smaller scale is made by 
the steam blowpipe, observing the same general rules 
in preparing. In the case of green, red or yellow gold 
plating it is better to use 250 points to 600 points 
thickness of backing. When we say red gold we mean 
an alloy of gold and copper only, which is almost as 
soft as the other colors. 

In painting on the borax if a shiny spot or spots 
show and seem to persistently refuse to take thb 
borax, keep rubbing until the plates, both solder atid : 
all, are evenly coated. The shiny spots are usually 
grease and must be rubbed out to ensure the flowing 
of the solder. The argument has been advanced that 
wire or thick strips of solder placed on one edge arid 
drawn through is a better way. This may serve in 
small stuff but does not work in the getting out of 
large bars. 

Tubing is also gotten out by drawing the gold-' over 
the base metal and, as in the case of bracelets; wiricl^ 
ing iron wire around before bending up on the arbor 



22 HOW TO MAKE JEWELRY. 

to keep the seam from buckling or opening up. A 
great many manufacturers to-day make their own tub- 
ing of the drawn-up seamed hollow wire, claiming 
that in the long run they are better off; the seam- 
less tubing developing thin spots oftentimes which 
makes the profitable working of it uncertain. In the 
winding up of 6 millimeter width bracelets, or wider, 
that are of round wire, it is advisable to put a brass 
hollow wire in the centre. Do not use solid wire, even 
if you should find it necessary to draw up plate so 
that it is apparently solid (no hole in centre) ; the 
acid will soon find the joint and attack the base metal 
more readily. If the brass core is not used, the tubing 
will flatten in the winding on the arbor and an oval 
shape will be the result. 

Bracelets are now made by using gold hollow wire, 
carefully wound with iron wire and filled with sand 
well packed in so that there are no air spaces for 
buckling; bend the ends of the tube over before 
winding. Some shops use cement in place of the sand, 
with a series of gas jets to uniformly heat the tubing, 
and using a sort of squirt gun which injects the melted 
cement into the warmed tube. The sand, however, is 
the best arrangement. 

Small work like spring rings are made in quantities 
by drawing up hollow wire of about 35 to 40 points 
and carefully soldering by using a thin wire of solder 
rolled flat and sprung in the seam, then wound on a 
grooved arbor. The rings come out slightly off the 
round, almost cushion shape in fact, and are then, 
after sawing apart, placed in a press having top and 
bottom plates hollowed out to shape up a perfect 
round. This brings the shape back again and the 
spring ring is finished up with the jump ring, snap, 
spring, etc. 

As mentioned, strips left over are rolled thinner, 
say to about 175 points, drawn up into tubing and bent 
into chatelaine pins or hairpin ornaments. The 
tubing, especially when it is to be drawn into widths 



HOW TO MAKE JEWELRY. 23 

of 6 millimeters or less, should be first filed on a bevel 
so that when it rounds up the gold edge will come to- 
gether. Before putting it in the acid all work should 
first be shaped to the desired design. Bangles and 
bracelets should be cut to size, soldered, and rounded 
on the arbor. A few holes drilled on the inside greatly 
facilitate in the eating out, and, especially in 10-karat 
work, the quickest way of getting out the base metal 
must be used. In 14-karat work nitric acid C. P. and 
hot water in equal parts may be used. In 10-karat 
work use 3 ounces nitric to 9 ounces hot water. Keep 
acid working; one shop the writer saw had an in- 
genious arrangement of a steel bar suspended from an 
arm in the end of the shafting, as the shaft revolved, 
the bar would pound on the bench on which were the 
vessels with the acid, thereby keeping it in motion. 

Fresh acid should be put in every two hours carefully 
pouring off the old into a large crock for the subse- 
quent recovery of the silver from the solder. All 10- 
karat goods must be closely watched, as by reason of 
the large proportion of alloy there is danger of the 
acid attacking gold or rotting it. Under no circum- 
stances leave in over night, and as soon as all bubbling 
or effervescence ceases, snowing that either the acid 
is saturated or that the base metal is eaten out, pour 
off acid at once, then rinse first in cold water, and 
finally in hot. To still further kill traces of the acid 
the work is now boiled in a strong solution of water 
and ammonia. 

While plated stock is perhaps not used as much as 
it was some ten years ago, yet some fine jewelry is still 
made in this way, notably knurled or bead edge link 
buttons and studs, beads and balls of various sizes 
and shapes. The greatest fault usually is in the eat- 
ing out, the tendency being to leave work in the acid 
over night, consequently, nearly always in the case of 
10-karat work, resulting in spoiled goods. 



24 HOW TO MAKE JEWELRY. 



CHAPTER VI. 



WIRE DRAWING AND WORKING. 
Melting the Gold— The Best Alloys and Their Proportions- 
Steel Arbors for Ring Winding— Paper Wrappers for 
Oval Arbors— Cutting and Closing Rings — Making Twist 
Wire. 

IN melting gold for wire it is generally the custom to 
use scrap gold or that which has already been in the 
crucible two or three times. The reason for so do j 
ing is that we get a harder and tougher wire, more spring, 
etc. This does not always follow, however ; where the 
prepared alloys are used afickle bar of gold oftentimes re- 
sults, especially if gold has already been melted twice; 
does not roll well, develops cracks in spite of frequent an- 
nealing, and yet after being broken down is softer thari 
may be desired. The best alloys to use for wire are silver 
and copper only, with the fine gold, and generally in the 
proportion of twice as much copper as silver. An alloy 
of fine gold, 100 parts ; fine silver, 24 parts,, and copper, 
48 parts, will make, after three meltings, an, excellent 
14-karat wire and is used for knife edge work.;.,.- t . , 

To get out a clean bar for wire it should be carefully 
hammered with frequent annealings, also annealing while 
putting through first two or three holes in wire rolls. Al- 
ways examine after putting through each draft for possi- 
ble cracks and file put at once before they aire allowed, to 
get deeper. Before drawing through the steel plate,s he 
sure to well cover with beeswax. The best way to do. this 
is to melt the wax in an iron ladle arid then dip in coil of 
wire, which has been previously warmed. If draw plates 
are kept in a clean drawer or box and are at intervals Well 
washed in kerosene they will last much longer arid give 
smoother wire. 

Steel wire is best for arbors for winding rings on, but 
if some sizes are hard to get, German silver maybe used. 



HOW TO MAKE JEWELRY. 25 



This is drawn from a thicker wire, so that it is very hard. 
In making oval rings the arbors must be steel to stand the 
frequent annealings. ' Always wind thick wrapping paper 
around an oval arbor before winding wire, or else you will 
have difficulty in getting rings off after annealing. In 
making rings it is a good plan to mark sizes, arbors, num- 
ber of thicknesses and style of paper used on oval arbors 
in a book for future reference. . 

Be careful in sawing off rings so as to get a good joint. 
Rings are made flat and closed by placing on a smooth, 
flat die and tapping with a hollowed out punch, which 
draws ends up tight. Another way is to use a die with a 
V-shaped hole in which rings are placed, a brass punch is 
put over ring and tapped with hammer. 

The fine rings used in rope chain are first drawn to ex- 
treme small sizes by diamond, agate or sapphire draw 
plates, after getting down as far as practicable in the steel 
ones. After winding on arbor they are cut by putting on 
another wire which has a piece of watch mainspring in- 
serted in the end so that it sticks up enough to act as a sort 
of knife. The cutting edge is sharpened and the wire 
is fitted snuglv into hole of a draw plate and sharply 
pulled with a pair of draw tongs. The rings are caught 
by holding in a bottle while process is going on. In the 
same manner the* half-ring trimming used in Etruscan 
jewelry is also cut ; in this case, of course, letting kmte 
project on both sides. Great skill is necessary in having; 
knife of exact thickness, so that after cutting rings they 
will be opened the right space for linking up. This is par 
ticularly important in rope chainmaking. In making twist 
wire of two or more strands be sure that wire is well and 
closely twisted, always remembering that in subsequent 
working of the twist, winding rings, or other manipulat- 
ing that the twist unwinds a little, and if not well twisted 
in the first case will result in a scrawny, spready twist.: 
• In cutting a piece of stock from plate to be used as wire, 
always cut the same direction as the grain runs, or, in 
other words, cut the.way gold was put through rolls v The; 
rather too. common .practice of cutting a strip off the end 
generally shows up a number of broken rings, or else 
cracky, seamy ones in winding. 



26 HOW TO MAKE JEWELRY. 



CHAPTER VII. 



THE MAKING OF SOLDERS. 

Reason for Using Copper Wire Rather Than Shot Copper — 
Components Should be Proportionately Like Those of 
the Stock — Best Solder for Easy Flowing is Within Two 
Karats of Stock It is Used on — Process of Melting and 
Mixing. 

COPPER wire is used instead of shot copper in the 
making of solder by reason of the "grain" in the 
wire which permits of an easier flowing solder. 
Shot copper is used by some manufacturers, however, and 
for the work in hand gives good results. This wire is 
pure lake copper, and may be purchased from Reichhelm 
& Co., New York. The ordinary commercial electric cop- 
per wire, used for wiring, etc., contains traces of arsenic, 
lead, tin, iron, antimony, etc., and is not recommended. 
The copper wire for alloying is already drawn to the de- 
sired thickness, about one-eighth of an inch, and is bought 
by the pound. 

In the soldering of jewelry it is imperative, to get the 
best results, that a solder of which the component parts 
are as near in proportion as those of the goods to be put 
together, be made and also that the highest possible 
quality solder be used. Another thing,, if a 12-karat sol- 
der, made of gold, silver and copper, is employed to sol- 
der a 14-karat article in which the alloy is made of gold, 
silver, copper and alloy (of almost any kind), your 14- 
karat stock will melt almost as soon as the 12-karat sol- 
der. This teaches us that an alloy composed of more 
items melts more easily and at a lower temperature. 

In the making of solders it is not advisable to use more 
than three component parts, viz. : Gold, silver and cop- 
per (unless it be a low grade solder for repairing), as al- 
though it will flow easier, yet it is more brittle, rots in 



HOW TO MAKE JEWELRY. 27 



frequent solderings and is affected by the pickling solu- 
tions ; so that no matter what alloys may enter into the 
making of your 18-karat, 14-karat, or 10-karat stock, use 
only the gold, silver and copper solders. Add a few 
grains of cadmium for 12-karat and 10-karat goods, with 
an addition of brass for the 8-karat, 6-karat and lower 
grade solders, used for 10-karat and repairing. Now the 
easiest flowing solder is that made within two karats 
fine of the stock you are working on. This is because the 
work has to be heated to almost melting point before the 
solder will run and when it does flow a perfect blending 
is. assured. Low grade solders will not flow or run on 
high quality work, simply because the solder runs before 
the work is well heated. The solder therefore simply 
melts "lumpy," and if additional heat is applied starts to 
burn out and "rots." The whole principle in fine solder- 
ing is simply using as high a quality of solder as possible, 
reserving the "repair" solder for a possible break at the 
last minute. 

The alloying of gold in the making of solders, or, lor 
that matter, in the making of stock, is not merely putting 
the right proportions into a crucible, waiting until it is 
melted, and then pouring into the ingot— it is a little more 
than that. Copper or alloy melts at a lower temperature 
than silver, so put in these metals first, then cover with 
the silver, and lastly cover well with the gold. It is ob- 
vious that if the copper or the alloy were put in last it 
would be melted and partly burnt out before the silver 
and gold were melted, thus making a brittle and also a 
higher quality solder than intended by reason of the cop- 
per burning out or volatilizing. The few grains of cad- 
mium used merely assists in making solder flow more 
easily, and is not considered in preparing the alloy, as it 
burns out after soldering. When the metal is melted, 
which can be ascertained by inserting an iron rod, poking 
down under the charcoal, by the way, any gold which is 
on top and seems to stick, stir vigorously, let stand a few 
moments, stir again, turn off gas, and just before lifting 



28 HOW TO MAKE JEWELRY. 

out to pour, add the cadmium, using a small pair of tongs 
and putting in well under the charcoal, then pour as 
speedily as possible. Some of the old-timers use zinc 
(pure) in place of cadmium, especially in melting for 
cast work. 

It is a pretty sight to watch an expert caster as he han- 
dles the liquid metal, adding the tiny pellets of zinc at 
just the right instant before pouring. This zinc adding 
can be easily overdone ; a "smitch" too much and a brit- 
tle casting is the result. It also gives the gold a pale 
color. The great point in its favor is its making the mol- 
ten metal more "watery," insuring a perfect casting. 
Where zinc is used, get the rods used in plating batteries. 

The proper time to add the cadmium is a matter of ex- 
perience, it depending on the amount of metal, etc., but a 
few directions in a general way will help. Gold, silver' 
and copper melt at a much higher temperature, so that 
these mixed metals must be allowed to cool before add- 
ing, the cadmium. When the crucible begins to show a 
dull red in the furnace, is about right. Do not, of course, 
let it get too cold, so that the mass solidifies before pour- 
ing. As before stated, powdered (fresh) lump sal-am- 
moniac and willow charcoal powder are best for melting, 
using about half and half, adding a little more charcoal 
after gold is melted. Use enough to well cover in both 
cases. 

In the making of new work where the karat quality is 
of course known, no solder less than four karats lower 
should be used, or five at the outside. An 8-karat or a 
6-karat solder is only used as a matter of expedience, but 
is not recommended in working on 14-karat goods. No 
brass, zinc, or cadmium should be used in making of any 
solders over 12-karat, and in this latter very sparingly,' 
about 8 grains to 24 pennyweights of solder. In the sol- 1 
ders where brass is used the wire form is best, and may 
be purchased from any hardware store. It is cut into 
about half-inch pieces, and as in the case of the cadmium 
or zinc,' added after the other metals are melted arid 



HOW TO MAKE JEWELRY. 29 

poured as soon as mass is thoroughly mixed with the 
iron rod. Brass is merely a mixture of copper and zinc, 
hence the necessity for quick pouring. A black smoke 
rising from the crucible will advise us that the brass is 
melted and is burning out. 

In addition to solders already given, here is a very easy 
flowing 6-karat solder: Fine gold, 6 pennyweights; sil- 
ver, 8 pennyweights ; copper wire, 6 pennyweights ; zinc, 
4 pennyweights. Also a solder 2^2 karats fine: Fine 
gold, 2.y 2 pennyweights ; silver, 10 pennyweights ; copper 
wire, 7^ pennyweights, and zinc, 4 pennyweights. Not 
less than 24 pennyweights total of either of these solders 
should be melted. 



30 HOW TO MAKE JEWELRY. 



CHAPTER VIII. 



SOLDER AND THE QUALITY STAMP. 
Stamped Products of Reliable Factories Make Close Assays 
— How to Figure Karat Quality — Solder Formulas 
Should be Verified— Alloy for Filling Shells— Benefits of 
the Stamping Law. 

MOST jewelry factories of any standing and rating 
stamp the karat quality on their goods, and if a 
piece were assayed, it has generally shown better 
than 13-kt. in the case of 14-kt. stamped jewelry. Of 
course, in a solid wedding ring, or a pair of flat links, 
where there is practically no solder, the gold should assay 
14-kt. In hollow work, where two halves are soldered 
together, it is well to know just how much gold is used 
and also how much solder. 

Take, for instance, a belt pin, when the front is applied 
to the back and soldered. We are using, say, 12-kt. sol- 
der. Weigh the gold parts, with joint, catch, and pin 
tongue before any solder is sweated on, and weigh again 
after pin is made. The difference in weight will, of 
course, show how much solder is added. Now, presum- 
ing the clean gold weighed four pennyweights of 14-kt. 
gold, and twelve grains of 12-kt. gold solder is added, 
knowing that in every pennyweight of 14-kt. stock there 
are fourteen grains of fine gold, and to every penny- 
weight of 12-kt. solder there are twelve grains of fine 
gold, we find that in the four and a half pennyweights 
of both we have sixty-two grains of fine gold ; and to get 
the karat quality we divide by 4^, which gives us 13 7-9, 
which karat the pin would assay. 

Now, the using of file solder in hollow work, in the 
hands of indifferent or incompetent workmen, is a se- 
rious proposition in that some of them fairly ''slob" the 
solder on, using enough on one pin in some cases to sol- 



HOW TO MAKE JEWELRY. 3 1 



der probably half a dozen. Where the price is already 
fixed, this, in the first case, is simply giving away gold, 
and in the second case, the karat quality of the pin is be- 
ing lowered considerably, so that if it were assayed it 
might not test better than 13-kt. or even less. In some 
hollow work, not for enameling, as low as 8-kt. gold sol- 
der is used and the solder must be used as sparingly as 
possible to keep above the 13-kt. mark. 

Large manufacturers, making match boxes, vanity 
boxes, lorgnettes, knot brooches, etc., where the parts 
are first flushed with solder and then sweated together, 
in order to offset the lowering of the standard quality, 
use an alloy from one-quarter to a karat finer than is sub- 
sequently stamped. 

In view of the fact that a lot of formulas furnished by 
refiners, copies from books, foreign publications, etc., 
simply tell how to get or make a hard solder that may be 
used for 18-kt. work, or 15-kt., or 10-kt., as the case may 
be, neglecting to advise you of the karat quality, the 
writer strongly urges the jeweler to find out what grade 
the solder is before starting. Suppose you should ask 
for a good, hard solder that will stand enameling on 
14-kt. new work, and a correspondent furnished you 
with the following: Fine gold, 5 pennyweights; silver 
(fine), 222-24 pennyweights, and copper wire, 22-24 
pennyweights. Add up the items and your total will be : 
10 pennyweights; in this, 5 pennyweights of gold have 
been used, so that quality is 5-10 of 24 fine, or 12-kt. sol- 
der. These recipes furnished by trade publications in re- 
sponse to inquiries, are usually copies from foreign trade 
journals, and, while generally correct, yet the writer has 
known of instances where mistakes have crept in either 
in translating or in the printing. 

In reply to an inquiry sent in some time ago, a New 
York trade journal furnished the following gold solder 
for 18-kt. work: "Fine gold, 120 grains; fine silver, 36 
grains, and fine copper, 2 grains." This solder is 
18 18-79 fine, or better than the 18-kt. it is proposed to 



32 HOW TO MAKE JEWELRY. 

use it on. Going on, the article says: "For io-kt. solder 
use line gold, 140 grains; fine silver, 70 grains, and fine 
copper, ~$ grains.'' This is 140-285 of 24-1, or 11 15-19- 
kt. solder, instead of io-kt. An 8-kt. solder turns out to 
be 7 7-1 1 -kt., the proportions published being, ''fine gold 
140 grains; fine silver, 170 grains, and fine copper, 130 
grains." 

Sometimes in the course of manufacturing the jeweler 
is called upon to make a solid piece of work, where ordi- 
narily the pattern is made hollow. In many cases it is 
not practical to take a heavy solid piece of gold and strike 
it in the die, so a special alloy, of same karat quality is 
made and used as a solder or filling for the regular shell. 
A head of an animal is ordered, but must be solid all the 
way through. The usual process is gone through of rais- 
ing it out of the regular stock, only that the fewer num- 
ber of items that are allowed in the alloy the less chances 
there are of melting when the "filling"' is subsequently 
applied. A 14-kt. alloy of 14 parts fine gold, 3 parts fine 
silver, and 7 parts fine copper shot will permit of a 14-kt. 
solder consisting of fine gold, 14 parts ; fine silver, 6 
parts ; fine copper wire, 2 parts ; pale Guinea alloy, 2 
parts, and about 12 grains of zinc (pure) or cadmium. 
In both instances the alloy is 14-kt.. the 12 grains of cad- 
mium or zinc not counting, as in the soldering it burns 
out, being only put in the alloy to aid in the flushing of 
the solder. 

A 14-kt. solder for 14-kt. work is not recommended 
for general practice, as it is too brittle for soldering 
parts, and the relative proportions of the alloys entering 
into its composition are not close enough to the 14-kt. 
goods used. As before stated, the best solders are made 
of alloys using as near as possible same proportions as 
the alloy of the gold you are working on. 

The recent stamping law enacted in Xew York state is 
practically a life saver to the legitimate manufacturer, 
forcing the other fellows, as it does, to make their lin- 
ings, inside posts, various stiffenings, connections, etc., 



HOW TO MAKE JEWELRY. 33 



of plump karat quality as stamped. These same makers 
used formerly to apply silver or other metal caps inside 
of link buttons as bearings for the setting of the stones, 
while the connecting bars were of 8-kt. stock. First- 
class stores did not hesitate to buy these goods., presum- 
ing doubtless (if they ever gave it thought) that "Jones" 
was figuring his goods at a little lower profit than the 
old reliable house of "Brown & Co." It is the writer's 
experience that the best policy in the long run is to make 
plump quality goods. One may go merrily along for a 
number of years shutting his eyes, or indifferent to the 
amount of solder or other karat quality entering into the 
making of jewelry, but upon a suspicion being enter- 
tained the goods are tested, and upon being found of low 
quality it is a mighty hard proposition to get customers' 
confidence again. 



34 HOW TO MAKE JEWELRY. 



CHAPTER IX. 



SOLDERING. 
Parts Must be Kept Free from Oxidation — Nothing Better 
than Slate Borax for this Purpose— Setting up the Parts 
— Use of the Blowpipe — Various Ways of Using Fluids 
— Economy in Using "Nests" — Clamps for Setting Up. 

THE whole secret of successful soldering is simply 
keeping the parts to be united free from oxidation 
during the heating and running of the solder. 
There are a number of preparations for this purpose on 
the market, but the old-fashioned slate borax is as good 
as any and better than some. A "soldering fluid," put up 
by Schneider, of Newark, is very good, especially in the 
case of soldering parts to be enameled over the seam. 
This fluid prevents pin holes and is easily applied. As 
soon as the article is successfully flushed, the heat must be 
removed or the solder will commence to burn out. For 
gold work the borax is rubbed up on a slate rather thin, 
but in silver jewelry it should be the thickness of cream, 
and the silver should be well scraped before applying the 
solder. To prevent the blistering and rising of the borax 
during heating, "Borum junk" is rubbed up with the bo- 
rax. Some jewelers mix a little gum tragacanth, which 
has been previously dissolved in boiled water, in with 
the borax. Keep your borax slate clean. A teaspoon- 
ful of grain alcohol in an 8 oz bottle of water helps to 
cut the borax up better in the rubbing up. 

Firms making low price silver and rolled plate goods 
set up the parts in ordinary mucilage or glue on sheet iron 
forms, then borax the joints, apply the solder and heat, 
using steam blow pipes. These are fitted to each work- 
man's bench, and by covering the entire bench with a 
sheet of asbestos a quantity of work is "charged" and 
soldered at once. Speaking of the blowpipe, it is very 



HOW TO MAKE JEWELRY. 35 

useful in any shop, as for instance, a fine piece of work 
which has been set up in wax and plaster Paris poured 
over it, after settling and hardening, is heated by the 
steam or power blowpipe and then soldered by the aid 
of the mouth blowpipe. 

All work must be free from any traces of oil or dirt, 
and should be annealed and boiled out before soldering. 
Rolled plate jewelry is boiled in a solution of boracic acid 
and water before soldering. Get a pound of this acid and 
put in a gallon jar or crock filled with water, take your 
boiling pan, or an ordinary galvanized pan will do, and 
place work in, well cover and boil well ; pour back the 
liquid and thoroughly dry the work and a film of boracic 
powder will be coating the work. Use an easy flowing 
solder : Fine silver, 40 parts, and brass wire, 20 parts, is 
good, adding the brass after the silver has been melted, 
remembering that the silver is melted under a good layer 
of charcoal powder, a small piece of borax added after 
it is melted, well poked down under the charcoal, then 
the brass quickly shoved in, well stirred with an iron rod 
and poured quickly into a heated ingot mould. It is well 
to keep in mind that rolled plate stock will not stand 
many annealings, especially the 1-40 stock, so figure out 
your soldering accordingly. 

Another way to apply the anti-oxidizing fluid (boracic 
acid) is to take a glass jar, well stoppered, fill about half- 
full of boracic acid, and the balance with pure grain al- 
cohol. Just before using, shake well and dip, or paint 
work with a small camel hair brush and ignite over a 
flame. The joint to be soldered is then scraped, borax 
applied, and it is ready for soldering. In resoldering a 
number of times, it is advisable to freshly coat the 
work each time, as the glaze is liable to burn or chip 
off. In all cases the boracic acid is applied before any 
soldering is done; the joint for soldering is scraped 
clean and the regular borax applied as in ordinary 
soldering. Still another way is to rub up an equal 
quantity of yellow ochre and boracic acid with a piece 



36 HOW TO MAKE JEWELRY. 



of slate borax and apply to the work. Great care 
must be exercised in this last method in keeping the 
ochre from the soldering joint. In fine close work, 
like the jointing of lockets, etc., ochre or powdered 
rouge, rotten stone or powdered tripoli, is used to 
prevent the joints from soldering together. One very 
good jeweler, whom the writer has met y used to use 
the juice of an onion. As this last "kink" did not facili- 
tate any, nor was any easier to use than the first men- 
tioned methods, the average workman may be easily ex- 
cused for not wishing to be constantly inhaling the odor 
of this pungent "fruit." 

As in the case of the hard soldering fluids there is 
nothing any better than the zinc muriatic acid mixture 
for soft soldering and repairing of all kinds of work. 
Get pure zinc clippings from your plumber and add to 
the muriatic acid until no more zinc is dissolved. To- 
wards the end place on your sand bath and use a gentle 
heat. Be sure that some undissolved zinc remains. This 
ensures the complete "killing" of the acid. Now pour 
off carefully into a glass stoppered bottle and add about 
one-third 20 per cent, liquid ammonia and a little water. 
This solution will not rust the bench tools. For certain 
new work such as the assembling in emblem work, where 
the soldering acid might tarnish, Venice turpentine is 
used. This is made by dissolving resin in turpentine 
gradually, well stirring from day to day until it is of the 
consistency of a syrup. Parts are well scraped, the "Ven- 
ice" and solder applied, and after soldering the work is 
plunged into alcohol, which removes the scum and cleans 
work as new. 

Occasionally the finisher is called upon to do a soft 
solder job, a setting to be soldered in a brooch, for in- 
stance. This is best done with the small copper solder- 
ing iron which is heated by placing in a fork over the gas 
flame. The better run of factories as a rule never use 
soft solder in fastening in any settings or parts, usually 
either burnishing or screwing them in. In this respect 



HOW TO MAKE JEWELRY. 37 

a wide contrast in methods is observed, as in the case of 
the very finest diamond jewelry imported the foreign 
workmen seem to take a delight in "plastering" settings, 
parts and sections together with soft solder. The pre- 
pared charcoal soldering blocks are now generally used 
in place of the ordinary burnt charcoal. Right here, is 
an expense item that can be kept considerably lower by 
the use of "nests," made from layers of mosquito net- 
ting, or iron wire coiled. Always see that an asbestos 
pad is used wherever feasible. Some workmen have a 
habit of using the charcoal block for everything, from 
annealing a piece of steel to soldering a fine, delicate "set 
up" of wire work. It will be found that a great saving- 
will be effected in the course of a year if the block is only 
used when absolutely necessary. In fact, for a great 
deal of work good jewelers prefer the "nest" as a quicker 
and better heat can be obtained. 

Workmen should be taught and encouraged to make 
sheet or iron wire clamps for holding parts together to 
be soldered. Old-timers, that is, some of them, will frit- 
ter away a whole day sometimes in tying a few joints and 
catches on to brooches, when the whole job can be done 
in an hour by another man who has used his head a lit- 
tle. The "pickle" used in boiling out work after hard 
soldering is the ordinary commercial sulphuric acid and 
water, in the proportion of about a half-cup of acid to 
two quarts of water. Add the acid to the water care- 
fully. This pickle is used for work under 14-karat and 
for all silver jewelry. For 14-karat work an "acid" made 
of four ounces of nitric (C. P.) acid and one gallon of 
water is used. This, after boiling the work in, cleans it 
and also sharpens up the solder joints, removing a little 
of the solder. Good quality solder should be used to 
avoid "rotting." In rinsing, cold water should first be 
used to kill the traces of acid or pickles, then the hot 
water, after which dry in sawdust. 



38 HOW TO MAKE JEWELRY 



CHAPTER X. 



TIPS ON SOLDERING AND STONESETTING. 
Twist Wire Border for a Cameo Brooch — Applying Trim- 
mings to a Plain Flange — Setting Soft Stones by Ham- 
mering — Sandblasting and Coloring — Never Use a Hot 
Solution— The Bezel Setting. 

TWIST, shot, or other wire is soldered around a 
cameo brooch or other mountings by first making 
a twist wire ring, soldering the joint with hardest 

solder and gently shaping on a round or oval mandrel un- 
til it fits snugly to the brooch. Now, touch lightly with 
thin borax water in about six places and apply pellets of 
solder of easy running quality. Apply an even heat all 
over brooch, being careful to run solder first on side far- 
thest from twist wire joint. The solder should be rolled 
very thin and cut very small. Tacking in five or six 
places will hold wire securely. 

Where it is practical, or where a twist wire is made 
Roman and put around a highly polished mounting, the 
wire is simply snapped or forced on, being held only by 
friction. Where it is sometimes desired to put around 
more trimming, say a shot wire, a plain wire and also a 
twist wire, soldering on to a plain flange all the way 
round, the plain bezel with the flange is polished first 
with Tripoli, washed out, then annealed and boiled in 
pickle. Now rub up a clean mixture of borax and wa- 
ter and apply evenly all over the brooch. Anneal, let 
cool, place on the trimming and apply borax with a brush 
to the latter. 

The fact that the plain flange is protected by a coating 
of burnt on borax will insure soldering and at the same 
time keep the solder from "splashing" or running where 
it is not wanted. The solder of course should be of a 
lower quality than that used in soldering on the bezel 



HOW TO MAKE JEWELRY. 39 



and the flange. If the directions are carefully followed 
and the solder applied evenly it will run in underneath 
the wire and after boiling out in pickle a clean piece of 
well soldered work will be the result. Should a few 
spots not be soldered, borax carefully, apply solder, let 
dry, then paint as close as you can with a mixture of yel- 
low ochre and water to keep solder from running where 
not wanted. 

The fine twist wire ornamented work noticed in ear- 
rings, belt pins, hat pins, etc., is all done by applying the 
"trimming" on to an annealed borax covered background, 
the tiny pieces of trimming, be they twist, plain wire, 
shots, rosettes, etc., being moistened in a weak solution 
of gum tragacanth and water ; after drying, the work is 
gone over with a sprinkler in the shape of an old tooth- 
brush dipped in borax and pressed with the finger nail. 
File solder is now applied by means of an arrangement 
in the shape of a pipe, the stem notched so that the nail 
in scraping along causes the solder to spray out of the 

opening. 

% ^ ^ 

The hammering or burnishing in rings of soft stones, 
as coral, turquoise matrix, opals, etc., is a matter of skill 
and long experience and also adaptability for this ex- 
tremely patience-requiring style of work. Setting in sil- 
ver is comparatively not so difficult as with gold. If the 
following tips are carefully followed, however, you 
should meet with some success. In making a gypsy ring, 
or other style where stone is to be hammered in, leave 
stock heavier than it will be after finishing. File as 
slantingly as you can to the setting, as the more raised 
or pointed the edge the better are the chances for ham- 
mering over on to the stone. 

The stone should be fitted very snug, the ring being 
firmly cemented on a shellac stick. Some setters prefer 
to do the hammering holding the stick in a vise, while 
others have a boy help them. The latter method is safe 
as it enables the setter to get closer to the job. Small 



40 HOW TO MAKE JEWELRY. 

flat head punches are used and the hammering must be 
light. Work evenly all round the stone and after secure- 
ly fastening in and testing by means of a piece of wax 
(placing a piece about the size of a walnut on the stone 
and sharply rapping the stick on side of bench) the ring 
may be filed and smoothed. Setters as a rule do not 
cover the stone, but a varnish of alcohol and shellac will 
afford a good protection drying as it does in a few mo- 
ments. Barrett or safety back files are used and the 
smoothing for polishing is done with a Scotch stone and 
water. 

Where work is to be sandblasted all soft stones must 
be covered, using strips of tissue paper dipped in the 
shellac alcohol mixture. Wherever it is practical in the 
making of rings or any kind of jewelry where a bezel is 
first made for the stone, this setting should be 18-karat; 
an alloy of 18 parts fine gold to 4 of silver and 2 of cop- 
per is excellent. The slight cost of using 18-karat stock 
is more than made up in the saving from breaking of 
stones. ' 

Jewelry with soft stones should never be put in a hot 
gilding solution. The writer has seen opals sometimes 
come through all right, but it is risky. Use a cold bath 
or one nearly so, and a stronger current. The solution is 
generally made a little richer also when used cold. Some 
work where stones are burnished in may be rose finished 
or colored before setting. Paint over with the shellac 
varnish, except just the setting edge. If neatly burnished 
the setting may be given a frosted and finished effect by 
touching with a glass brush or gently rubbing with small 
pointed pieces of emery paper, thus doing away with 
the necessity of further gilding. 

The later styles of jewelry show stones held in by a 
fancy claw or scroll. These prongs are made out of soft 
gold. Still other pieces are set from the back, the stone 
being held in by a few claws on back of the pin. Of all 
the soft stones the turquoise matrix is the most tricky, 
and this stone is very seldom hammered in. A verv good 



HOW TO MAKE JEWELRY. 41 



effect of this style of setting is gotten by letting in a nar- 
row 18-karat bezel to the ring so that an edge sticks up 
just enough to turn over on the stone. If smoothed off 
carefully the ring looks pretty much like a hammered in 
stone job. The chief thing to look out for is a clean sol- 
dering so that no pinholes or specks show up at the fin- 
ishing. 

The shellac may be removed by placing in wood alco- 
hol. All rose finished or colored work should not be 
given final scratch brushing or relieving of raised sur- 
faces until the last thing. 



4 2 HOW TO MAKE JEWELRY. 



CHAPTER XL 



REPAIRING STONE SET WORK. 
A Delicate and Trying Problem — Always a Risk in Heating 
Stones — Easy Method of Protecting Stones While Sold- 
ering — Some "Secret" Methods — Remove Jewels for 
Enameling or Hard Soldering. 

TO the jewelry repairer, the- most delicate and trying 
problem presented is the soldering of broken parts 
with the stones left in. A ring, pin,' or other arti- 
cle, comes in, the break perhaps just far enough removed 
from the stone to give rise to the question, "Will it stand 
the heat?" the writer wishes to say right now, that where 
a stone, no matter what it is, can be removed do not put it 
through the lire. This applies to diamonds, rubies, sap- 
phires, and emeralds, as well as the other stones. It is 
better to stand the cost of resetting the stone, especially 
if it is a large one, than to have to furnish a new one oc- 
casionally. The four stones mentioned will admit of be- 
ing heated red hot, and in most cases come out all right, 
yet it is risky ; stones with flaws are apt to crack still fur- 
ther or get "salty" or dull. Where it is advisable to take 
the chance, these stones should always be coated with bo- 
racic acid dissolved in alcohol and ignited, sq as to form 
a coating during the subsequent soldering. 

It is a matter of record that some diamonds are more 
susceptible to heat than others. The writer knows of 
diamond chains where twenty and more stones are sol- 
dered in little bezels, in which they have, in some in- 
stances, become dulled during the soldering, necessitating 
a repolishing at the diamond cutters. They were taken 
from one lot of stones of the same grade and quality, 
and to all intents and purposes were expected to mount 
as clean as the others. Some jewelers claim that the pre- 
pared charcoal block upon which they solder the links, 



HOW TO MAKE JEWELRY. 43 



emits a vapor which dulls the stone. There may be some 
truth in this, yet it does not explain why the diamonds 
in an enameled piece will sometimes get white and lite- 
less when being "fired" in the enameling furnace on a re- 
pair job. At all events, the diamond jewelers simply ac- 
cept the situation in as philosophical a manner as possi- 
ble, and if sometimes after going along merrily for a few 
weeks they run into a bunch of hard luck and scorch 
a few diamonds, they are sent to the cutters for repohsh- 

ing. 

It may be asked, "Why cannot the diamonds be set af- 
ter the soldering?" Replying to this question, the most 
delicate mounting and one showing the minimum amount 
of metal is the half-round girdle which is snapped around 
the stone and soldered, with the connecting rings after- 
wards applied, to make the chain. In soldering rings, if 
the break is at the bottom of the shank, or not too near 
the shoulder, and the shank is not too thick, nearly all 
stones can easily be protected by wrapping thoroughly 
wet and "soggy" tissue paper around the stone or stones 
and well pressing on with a pair of spring tweezers dur- 
ing the soldering. A very quick flame must be used so as 
to avoid drying the paper and spoiling the stones. In 
stones like onyx or others that are cemented in a box, it 
is best to remove them. The stones most susceptible to 
heat are the coral, turquoise, pearl, opal, then follow the 
amethyst, topaz, peridot, tourmaline, and others of about 
the same hardness. 

Speaking of tissue paper as a protection during heat- 
ing, the writer is reminded of some of the "secret" meth- 
ods employed bv various workmen in protecting the 
stones and gives' them here for what they are worth. 
One jeweler used to bring a potato every morning to set 
his work in for soldering. Another would mix up whit- 
ing and water and cover the stone. Still others swore by 
wet sand, yellow ochre, or plaster of Paris. Take two 
sheets of tissue paper, the older and more crinkly the 
better, fold up five or six times so as to make two strips 



44 HOW TO MAKE JEWELRY. 

about a foot long and an inch wide, well moisten with 
clear water to make a saturated mass, wrap around 
the stone, perhaps first packing in crevices and back of 
stone with small pellets. You can use this same paper 
and will have a dozen rings or other pieces done while 
the other fellow is puttering along with his potato or tur- 
nip, or paste pot. 

Some years ago we remember a very good workman 
who was struggling along trying to solder a five stone 
opal follow or hoop ring. He had dug out a cavity in 
his charcoal block and filled it with whiting paste, then 
he had placed the ring too far in the mess and had pa- 
tiently shaped up a piece of charcoal to fit inside the 
ring. After about an hour and a half he reported to the 
foreman that the stones would have to come out, that it 
couldn't be soldered. Another man took the ring, cleaned 
off the whiting, put away the charcoal, wrapped around 
a strip of wet tissue paper, used a quick flame and the 
job was done in ten minutes. On the other hand, dis- 
cretion is also a very valuable asset. A firm on Fifth 
avenue had to stand the loss of a $1,500 pearl simply 
because the workman took a chance on sizing a lady's 
very small ring with the pearl in. How much saner it 
would have been to have had it removed even at the 
cost of a new mounting. 

Diamond set work to be re-enameled should first have 
the stones removed. One is taking a risk otherwise, and 
as said before, a dozen pieces may come through all 
right, while the next job, with perhaps a dozen or more 
stones in, will go to the bad and your profit is gone on 
the previous dozen jobs. In protecting the stones, if you 
should decide to take a chance, see that the boracic coat- 
ing is well dried and heated so that any bubbles or flakes 
will have been cleaned off before charging on the enamel. 

In soldering on new clamps or points on cluster or set 
rings where stones are left in always let cool gradually. 
Stones have been known to break by dropping onto a 
cold slab or metal while in a heated state. Any stone 



HOW TO MAKE JEWELRY. 45 



with flaws should never be put through the fire unless at 
the owner's risk. A good axiom to remember is that it 
is always better/ to talk about a thing two or three times 
before than once afterwards. And another thing, do 
not get into the soft soldering habit. If a customer 
brings in a job all plastered with lead tell her about it 
and estimate what it will cost to put in first-class con- 
dition. She will probably have it done at some store 
eventually, as the fact of her bringing it to you has 
shown that it will not hold soft soldered. 

Hard solder your work, get your men used to remov- 
ing jewels and replacing them and they will take more 
pride in their work and themselves. You can stand back 
of your work and guarantee it. Soft solder is easily re- 
moved by first scraping off all you can, or heating care- 
fully and brushing or knocking off, then let stay in a 
solution of muriatic acid and water in proportion of 
about two of acid to one of water, until the solder is de- 
stroyed. Do not let it stay in longer than necessary, as 
low "grade gold is apt to get affected by the acid. 

There is nothing that will bring back the lustre or color 
to any of the semi-precious stones after being burnt, so 
bear in mind that an ounce of prevention is better than 
any amount of cure. 



46 HOW TO MAKE JEWELRY. 



CHAPTER XII. 



THE PROCESS OF GILDING WITH ELECTRIC 
CURRENT. 
Preparation of Gold Chloride — Proper Manipulation of the 
Dynamo — Making Ready Solutions for Roman, Rose, 
Green, 14-Karat Gold, and Silver Plating — A Few Prac- 
tical Hints on the Care of Stock Solutions. 

NO solution, however carefully made, will be of any 
use unless the dynamo is regulated to the amount 
of work to be gilded. Get a dynamo that will give 
from one-half a volt up to six volts, also get a voltmeter, 
and you are equipped for anything that a large jewelry 
factory calls for. A large water tank with a capacity of 
three crocks holding one gallon each and heated by a 
steam coil gives best results ; always keep tank filled up to 
within an inch of top of crocks and heated to 120 to 
150 F. From 1 to 1^ volts will be found enough cur- 
rent for small batches, Roman and silver plating, run- 
ning up to 3 and 4 volts for the other finishes, the exact 
current strength, however, must be found out by actual 
experience, as strength of solutions will vary as used, on 
difference in temperature, etc., also in number of articles 
to be gilded. All work must be free from any dirt or 
grease and should be scratch brushed with a fine brass 
brush on a rapidly revolving spindle, keeping article wet 
by allowing a solution of bran water to drip from a tank 
or can placed just above the brush. The bran water 
should be freshly made each day, and is made in 1 gallon 
lots by dissolving a couple of handfuls in an old salt bag, 
in boiling water, then squeeze out well and it is ready for 
use. 

To make the gold chloride take 20 dwts. of chemically 
pure gold, which can be bought in ribbon form, or, if you 
have an old anode, roll it very thin and cut up into 



HOW TO MAKE JEWELRY. 47 

squares ; then crinkle it so it will not lay flat, place in a 
flask with a long neck and mix a solution of four ounces 
chemically pure muriatic acid and two ounces of C. P. 
nitric acid ; put all in flask and place on sand bath ; the 
gold will dissolve in a short time but should be left on 
the sand bath until the solution evaporates down to al- 
most a syrup; let cool and add one-half pint of distilled 
water; let it evaporate again, then pour into a bowl con- 
taining about three quarts of water, stir well and add 
carefully liquid ammonia (20 per cent.) until all the gold 
is precipitated as a spongy mass in bottom of bowl; be 
careful not to add any more ammonia than is necessary. 
Now pour off liquid and wash the gold several times with 
boiling water until all odor of ammonia has disappeared, 
then wash once in cold water. 

A word of caution to the beginner is necessary at this 
point, as when the gold is thrown down by the ammonia 
it becomes fulminating gold and if allowed to become dry 
is a dangerous explosive. A little water should be left in 
bowl after each washing and after final cold water rins- 
ing. A solution of three ounces cyanide of potassium 
(C. P.) in one quart of water should at once be poured 
on gold and let stand over night; should gold not all be 
dissolved add a little more cyanide and water from time 
to time until solution is a clear golden color and all the 
gold is just dissolved. We now have cyanide of gold 
ready to be used in the making of Roman, rose or Eng- 
lish finish and green gold solution, and also to replenish 
with from time to time. 

To make a Roman solution, take one-quarter of your 
cyanide gold, place in gallon crock and fill up to within 
an inch of top with rain or distilled water, or water that 
has been boiled and allowed to cool may be used. Then 
mix 12 dwts. phosphate of soda in a little water and add. 
stirring well. Use a C. P. gold anode, one about six by 
two inches, and the thickness of a twenty-five cent piece, 
raising or lowering this anode in the solution in propor- 
tion to the quantity of the work, usually getting the best 



48 HOW TO MAKE JEWELRY. 



results by having a little more anode surface. If, in the 
making of the cyanide of gold, you have used just 
enough cyanide potassium to dissolve the gold, it will be 
necessary, in the making of the gilding solution to add 
one-half ounce of cyanide so as to have free cyanide in 
the bath. 

Work after scratch brushing should be dipped in a 
bowl of hot water, in which a few drops of ammonia, or 
a small piece of caustic soda may be dropped. This is 
done to clean the work and also to heat it up to about the 
temperature of the gilding bath and is a point worth spe- 
cially remembering in gilding enamel work, as the sudden 
change from the cold bran water of the scratch brush of- 
tentimes causes the enamel to chip and fly off. The cur- 
rent should be allowed to circulate through the bath for 
a little while before using a new solution ; best results are 
secured on the following day. 

We are gilding say six brooches of the average size; 
see that your copper wires are clean and well rubbed with 
emery paper; note the current registers one volt; after 
scratch brushing well and dipping in the hot water bowl, 
suspend in the bath by means of thin copper wire — do 
not use iron wire — let stay in about half a minute; re- 
move and scratch brush well, hang in again for three- 
quarters of a minute, remove, scratch brush and give a 
final dip of about a quarter of a minute, when work 
should be gilded. It is advisable to defer the final scratch 
brushing until after the brooch has been set, pin tongue 
fastened in, etc. If gilding is too pale, there is either 
not enough gold in solution, too much free cyanide, or 
not enough current. If too dark, muddy or reddish, the 
bath is too hot, too rich in gold, too much current, or not 
enough cyanide of potassium. All the above will be 
found out by actual experience and can be remedied by 
following the hints given. 

A rose gold solution is prepared the same as the above, 
adding carbonate of copper previously dissolved in wa- 
ter and cyanide of potassium, a little at a time until the 



HOW TO MAKE JEWELRY. 49 



desired shade is secured. Use a current of three to five 
volts; the solution should be hotter than regular gilding 
bath, but not boiling. For rose finishing first gild, — two 
coats only — then place in rose solution only long enough 
to get the shade wanted; finish the work, then scratch 
brush the back, dry in sawdust and just before carding 
brush the raised parts lightly with a glass brush. A rose 
finish may also be obtained by using the regular gilding 
bath and running up the current, but this is an expensive 
method, as the gold is deposited heavily or "burnt" on, 
and the practice is not advised. 

It sometimes happens that in spite of the greatest care 
in the manipulation of the dynamo, baths, etc., the gild- 
ing is not satisfactory; in such an event, where, say a 
cigar case or a large locket is not taking an even, rich 
color, place in a silver bath and then regild, when you 
will find a beautiful lustre will be the result. 

In the making of a green gold solution we use cyanide 
of silver in addition to the gold. To make this more care 
must be exercised than in preparing the gold, and is done 
as follows : 

Dissolve one ounce of fine silver (rolled thin and 
crinkled as in gold) in an evaporating dish containing 
enough nitric acid (C. P.) and water in equal parts, to 
cover it. If not all dissolved, add a little more acid and 
water until just dissolved, avoiding an excess of acid. 
Evaporate cautiously to dryness to expel the acid and 
dissolve the powder (silver nitrate ) m a quart of dis- 
tilled water. Now dissolve 15 dwts. of cyanide of potas- 
sium in about six ounces distilled water and add in small 
portions to the silver nitrate solution with brisk stirring ; 
let stand until a precipitate ceases to form in the clear 
liquid. If too much cyanide is added, some of the silver 
will be redissolved. Pour of! the liquid and wash the 
precipitate several times with water. Dissolve 25 dwts. 
of cyanide of potassium in six ounces of water and pour 
on the silver gradually, stirring well with a glass rod un- 
til about half of the solution has been poured ; let stand 



5a HO IV TO MAKE JEWELRY. 

for 12 hours, stirring occasionally, if silver is not all dis- 
solved; add the solution a little at a time until nearly all 
the silver is taken up, then place in a glass stoppered bot- 
tle and place in a dark closet, ready for use in the making 
up of silver plating solutions and in green gold baths. 

A green gold bath is made by taking a regular gilding 
bath and adding the silver cyanide carefully until a green 
shade is reached. It is well to take some old silver or 
metal pins and practice on them; when you get a rich, 
deep green, lacquer it and keep for comparison from 
time to time. If you get too much silver cyanide in the 
bath the gilding will come out pale and eventually white, 
so that more gold cyanide must be added. Use a green 
gold anode, 20 parts line gold and 5 parts silver. 

To get the dark green shade or "smut," take 12 dwts. 
of powdered white arsenic, mix in a little water to form 
a paste, then boil in an enameled iron pan with one-half 
pint of water and one ounce of cyanide of potassium; 
let cool and add this arsenic solution very carefully, not 
more than a teaspoonful at first, and later drop by drop, 
until at a current of three volts a deep, dark shade shows. 
More arsenic makes work black, and upon relieving the 
high lights shows a pale, lifeless green. In this case it is 
generally better to make a new solution. If at three volts 
a dark smut is showing and it is desired to get a still 
deeper black, the current may be run up to three and one- 
half or four volts. Do not leave work in longer than 
necessary to get the shade, then plunge at once into boil- 
ing water, dip in alcohol, let dry, or ignite and burn off 
the alcohol, relieving the high parts last, as in rose finish- 
ing. 

A silver solution is made by taking half of the silver 
cyanide, put in a gallon crock filled with water, add one 
ounce of cyanide of potassium and stir well. The solu- 
tion may be used hot or cold, using more current in case 
of cold. If color is yellow add a little more cyanide. 
Use fine silver anode. 

To make a 14-karat solution, add to a regular gilding 



HO IV TO MAKE JEWELRY. 51 

bath the carbonate of copper solution, testing from time 
to time, until, after burnishing the article with a blood- 
stone burnisher and rouging, the color matches a solid 
14-karat piece. A little silver cyanide may also be added. 
The amount of copper to be added is regulated by cur- 
rent strength and other conditions which can only be de- 
termined by experience. 

In the amounts of "free" cyanide given, the propor- 
tions are a little under as it is an easy matter to add more. 
All solutions should be filtered once a month and fresh 
cyanides of gold or silver added in small quantities from 
time to time to keep baths from becoming impoverished. 
Remove anodes when through gilding, as the cyanide will 
dissolve them. A little phosphate of soda should be 
added occasionally to tone up the baths. Solutions not 
in use every day should be kept in glass stoppered bottles. 
All solutions containing gold should, after they have 
been run for some months, or are spoiled, be poured into 
a large crock, and when there is sufficient quantity, say 
ten or fifteen gallons, the gold may be recovered and 
melted in with the refinings. The latest and most eco- 
nomical process for the recovery of old gold and silver 
from solutions will be taken up in another chapter. 



$2 HOW TO MAKE JEWELRY. 



CHAPTER XIII. 



RED GILDING. 
The Proper Bath— Strength of Current— The Best Anode — 
Dynamo vs. Batteries — Preparation o£ the Work — Avoid 
Excess of Free Cyanide — Copper Cyanide Solution — To 
Preserve Goods from Tarnish. 

TO get a good red color copper must be added to the 
gold bath. This is best done by first dissolving 
carbonate of copper in water in which a small 
piece of cyanide of potassium has been dissolved. The 
amount of this cyanide of copper solution to be added to 
the bath is, of course, determined by the size of bath, 
amount of gold it contains, current strength used, etc. 

In all events, add copper carefully, a little at a time, 
until the deposit shows red. For red gilding, the bath 
should be somewhat hotter than for yellow or Roman, 
although not boiling; the current is increased to about 
three volts. A 14-karat anode is the best to use, and 
is made of 14 parts of fine gold to 10 parts of pure 
copper shot. Some platers prefer to use a 10-karat 
anode, and still others use platinum or copper anodes. To 
have a permanent even bath, however, and to deposit a 
red that will not tarnish quickly, an anode of not less 
than 14-karat should be used. In the case of the 10-karat 
and copper anodes there is constant danger of getting too 
much copper in the bath, and with the platinum anode it 
is a matter of frequent replenishing of the solution. The 
regular pure gold anode is .also sometimes used, and in 
this case, with the stronger current especially, you are 
"burning" up considerable fine gold. 

All this would be found out very quickly if large lots 
of work were being constantly put through the plating 
room. Now the deposition of gold and copper in solu- 
tion upon metal articles is more difficult than where only 



HOW TO MAKE JEWELRY. S3 

one metal is to be deposited. It is a matter of having 
just enough of each metal so that with a sufficiently 
strong current, right amount of free cyanide, good hot 
bath, and goods to be plated absolutely clean, both metals 
will be deposited in the proper proportion. 

To get best results, a dynamo with a voltmeter register- 
ing six volts should be used. Cell batteries, or ready- 
made gilding outfits supplied to the trade are makeshifts 
and are always unsatisfactory in the long run. You must 
have an indicator to show you that when you have 
"shoved" up the current, it has been increased, and also 
exactly how much. A voltmeter is the only thing that 
does this, and saves guesswork. 

Work should be scratch brushed with a steel brush, us- 
ing bran and water. In the baser metals, especially ore- 
ide or brass, the work should be first dipped in a hot pot- 
ash solution, scratch brushed, then dipped (after string- 
ing on clean copper wire) into a bowl of hot water with 
a few drops of ammonia, and placed in the bath. Leave 
in only for a few seconds for the first dip, then remove, 
rinse, and scratch brush with a fine brass brush. If some 
of the parts are not covered rebrush with the steel. The 
article must be thoroughly coated before proceeding with 
a second and longer dip. 

If a good, durable "plate" is desired the second im- 
mersion should be of at least a minute, gently keeping 
in motion while in the bath, and turning so as to present 
all sides to the anode, in order to secure an even deposit. 
Articles should then be burnished with a bloodstone, or a 
highly polished steel or agate burnisher. Heavy deposits 
are secured by extra dips, scratch brushing and burnish- 
ing after each dip. In order to know amount of gold be- 
ing deposited weigh the article carefully before starting. 
If, no matter what you do, the color is pale, it indicates, 
too much free cyanide or not enough current; if muddy, 
the current is too strong, there is not enough free cya- 
nide in the bath, or the solution is impoverished and needs 
more gold. 



54. HOW TO MAKE. JEWELRY. 

Where there is too much free cyanide the gold is rap- 
idly dissolved from the cathode as soon as it is covered, 
and until there is enough gold eaten off the anode to bal- 
ance the bath the metal of which the article is made is 
also being dissolved and there is danger of spoiling the 
solution. This, of course, is particularly true where the 
baser metals are being plated. A good plan is to take a 
piece of highly polished 14-karai plate and match the 
gilded piece. When, after burnishing, the shade is the 
same, keep it for future reference. 

Remember the redder it is the more copper and conse- 
quently the lower the alloy. In making the cyanide of 
copper solution get about half a pound of copper, place it 
in about a quart of water which has been previously 
boiled and cooled. Add small pieces of cyanide of potas- 
sium from day to day, until all the copper is dissolved 
and a clear liquor shows. More or less cyanide could 
be used, but you would not know just where you were at. 
The principal thing in gilding or plating is to get a good 
deposit with just as little free cyanide as possible. A lit- 
tle more can always be added, in fact, it is a good thing 
where a quantity of work is done daily, to add a small 
piece each morning. In new solutions the current should 
be run for a little while before commencing to work 
with it. W T hen you have once secured a good solution do 
not use it for any other purpose. Keep in glass stoppered 
bottle when not in use. This solution can be safely used 
for a rose finish after goods have first been gilded in the 
regular Roman bath. 

All solutions that have been worked daily should be 
filtered at least once a month, and oftener where work 
is of a mixed nature presenting more opportunities for 
the introduction of foreign matter, sand, dirt, etc. Get 
good quality filtering paper and a large glass funnel, twist 
up paper to fit snugly, adding a few pieces to the opening 
of the funnel stem, as the weight of the liquid may force 
the paper through otherwise. Let filter into a thoroughly 
clear vessel, a large pitcher does very well. The paper 
should be kept and burned up eventually with the shop 



HOW TO MAKE JEWELRY. 55 

sweeps. A solution properly kept will run from four to 
six months before becoming played out. It is then 
poured into a crock, in which may be kept any cyanide 
solutions, for the subsequent precipitation and recovery 
of the gold and silver. It is a good idea to so regulate 
the making of solutions that new ones are made after 
Christmas and during the summer vacation. 

There is nothing that will prevent goods from eventu- 
ally becoming tarnished in the showcases. This is due to 
the vapors (mostly sulphur) that generate and readily at- 
tack silver and also plated jewelry and even solid gold ar- 
ticles after a time. Gum camphor will, in a measure, 
neutralize the poison of these oxidizing gases ; a piece of 
magnesia will also absorb some of the impurities. A 
solution of chloride of lime placed in the cases each night 
will prolong the subsequent recleaning of the stock. Tar- 
nished silverware may readily be renewed by dipping in 
a crock containing water and a few pieces of cyanide of 
potassium. Rinse and dry in boxwood sawdust and bring 
up the lustre by holding against dry cotton buff on rap- 
idly revolving polishing lathe. Colored or matt finish 
gold goods may be cleaned by dipping in bicarbonate of 
soda, 2 ounces, with about an ounce each of chloride of 
lime and table salt in one pint of water. 

In using cyanide potassium remember it is a deadly 
poison and always label any vessels containing it as such. 

Polished gold jewelry is touched up on the rouge 
brushes and buffs. Work with half -pearls in — first cover 
the pearls with a paste of powdered magnesia and water 
and let dry. This keeps pearls white and prevents the 
polishing rouge from getting under the stones. This 
paste could also be used on any article where it is not de- 
sirable to have rouge come in contact. 



56 HOW TO MAKE JEWELRY 



CHAPTER XIV. 




RESISTS FOR TWO-COLOR WORK. 

Acetate of Amyl and Celluloid Solution the Most Satisfac- 
tory — How It is Prepared— Protection of Parts in Bright 
Polishing — To Remove the Resists — Pegging on Parts — 
Bronze Powders. 

O protect parts of lockets or other jewelry, before 
immersing in Roman or other gilding solutions, 
first gently warm the article over an alcohol lamp 
(do not get it hot), then paint with a small camel's hair 
brush dipped in a solution of acetate of amyl and cellu- 
loid. The amyl acetate may be purchased at any drug- 
gists; the celluloid is added, a little at a time, left over 
night and more added from time to time, until the so- 
lution is of the consistency of a fairly thick lacquer. I- 
would suggest using the plain yellow celluloid — a couple 
of combs may be purchased in any department store. 

This lacquer should be applied by going over once only 
with the brush, letting it dry thoroughly, then giving it 
another coat and letting dry. If the article is kept just 
warm it will greatly facilitate the drying. When dry the 
lacquer is colorless and transparent, though it is some- 
times desirable to have it colored so as to enable one to 
see where the stop line is. For this purpose a little finely 
powdered rouge is well mixed in. This "resist" is kept 
in a well stoppered glass bottle, a few ounces lasting a 
long time. 

This solution will stand up longer in a cyanide of po- 
tassium solution than any Others the writer has tried, yet 
it is not advisable to keep articles in the bath longer than 
absolutely necessary. When possible, work with cold 
or lukewarm gilding solutions. As is known, cyanide of 
potassium is a most deadly destroying agent and if the 
article to be given a Roman or Other dip be left in any 



HO W TO MAKE JE WELRY. 57 

length of time the lacquer will be attacked and conse- 
quently the exposed parts will also be gilded. In the case 
of a Roman color the bath may be worked cold ; for rose 
or green gilding the solution must be hot. Get it working 
exactly right before putting in the ''resist" covered pieces.; 

Other work is finished bright in certain sections by first 
giving the jewelry a Roman dip and then polishing away 
the color so, as to ^expose: tfre bright gold underneath; 
The gilded parts in this case are protected in some in- 
stances by painting over with gamboge and water or a 
paste of powdered magnesia and water, or, where feasi- 
ble, a brass foil is struck up in the same die that the ar- 
ticle was raised in, and the parts to be bright sawn out. 
This brass is then fitted over, acting as a protection to 
the gilded parts. Of course, all lapped or raised parts 
may be polished bright after gilding without the aid of 
any of the above-mentioned protecting agents, and in the 
hands of skillful and experienced polishers some very 
quick finishes are given. To get the lacquer off after 
gilding, let the article stay for a short time in a steaming 
hot solution of caustic potash, or a lye dip will do. 

Another resist is the ordinary lacquer used for silver 
work ; another is asphaltum dissolved with a little bees- 
wax in turpentine. This last is removed after gilding by 
immersing in benzine. Still another resist is the ordi- 
nary shellac varnish made by dissolving pure amber col- 
ored flake shellac in wood alcohol and applying with a 
brush. You will find, however, that the solution first 
mentioned will give best results for all kinds of work. 

In gilding work where two or more finishes or colors 
show on the same piece, always use the strongest or most 
difficult solution first, as in the case of, say, a locket 
which has a green colored section or background with a 
Roman colored face. First green finish the proper or 
desired shade, dry well and apply the lacquer resist ; the 
yellow dip may now be easily applied in a comparatively 
cold solution. 

In expensive platinum and gold goods it is sometimes 



58 HOW TO MAKE JEWELRY. 

advisable that certain parts be finished and pegged on 
after gilding. These pieces are usually fastened on by 
means of soft gold hollow wires. These hollow wires, 
after passing through the main section of the piece, are 
held by carefully burnishing, or spreading the ends. 

Bronze powders dusted on, are still used in chejap jew- 
elry. These powders may be bought from the jewelers* 
material houses and come in every color and shade. 



HOW TO MAKE JEWELRY. 59 



CHAPTER XV. 



ACID COLORING. 

An Old Time Finish Still Used in Special Cases-Difficulties 
of the Process-Etruscan Work and Gold Bead Necks 
Best Finished in this Way-Details of the Work-Some 
Good Formulas— Tricks of the Trade. 

THE acid color finish of gold jewelry is not applied 
as much as it was some twenty or more years ago. 
In some respects this process of coloring is not 
practical. Most of the old-timers can remember the 
trouble connected with the resizing of acid colored rings 
and the refinishing thereof, or the "chipping away ot 
the color in setting or engraving. Likewise the repairing 
and recoloring of brooches or other jewelry Briefly 
stated, the ingredients of the mixture employed m this 
process have a powerful solvent action on the base metal 
with which the gold is alloyed, and a weaker action 
on the gold itself so that the base metal is dissolved 
from the surface, leaving the fine gold thereon, lnis 
fine gold surface will, in time, become scratched or a re- 
pair necessitating soldering is needed with a subsequent 

recoloring. ■ h 1 

To properly recolor the article, it should first be finely 
smoothed off with emery paper so that the original alloy 
surface is reached. The fine gold being removed, the 
copper coating is exposed, and this being also taken ott 
the alloy will be seen. By alloy we mean the karat qual- 
itv sold of which the article is made. Now all this means 
a reducing of thickness and a consequent weakening ot 
the piece, and a second recoloring would probably en- 
tirely spoil it. In soldering acid colored work it is best 
done by painting entire piece with borax and water, sol- 
dering with an easy flowing solder and recoloring m reg- 
ular gilding solution. Sometimes a strong current is 



6,o HO W TO MAKE IE WELR Y, 

needed to force a deposit of fine gold on acid colored 
jewelry. Another difficulty encountered in the attempt 
to recolor old jewelry by the acid method is the lack of 
knowledge of proportions of silver and copper in the 
gold; the maker of the article in question knowing, of 
course, his alloy, uses more or less acid in proportion to 
amount of silver used. 

Certain styles of goods, however, can be brought to the 
highest state of perfection only in this way, and torday 
makers of these lines of jewelry use the acid color finish. 
Especially in the case of Etruscan work is the acid dip 
necessary to make the trimming, be it shots, twist wire, 
plain or fancy wire, stand out clean and sharp from the 
background. Plain gold bead necklaces are best finished 
in acid color, as the color is more lasting, the electro- 
gilding being apt to rub off or become dimmed from con- 
tinued contact with the skin. Another good point is that 
the maker of acid colored goods is giving a plump, solid 
alloy ; it wouldn't stand the acid if otherwise, and in the 
case of the afore-mentioned beads, there is a tendency 
sometimes to use a plated stock in order to facilitate the 
getting out of the bead. 

This base metal is supposed to be entirely eaten away 
by acid before making into necklaces or other jewelry. 
The lace work made out of screw wire rolled flat and 
bent into various patterns is greatly enhanced by the acid 
finish, the cutting of the screw being sharpened and 
given a finer and richer look. 

Gold to be used in acid color work should be largely 
alloyed with copper : red gold will color better than the 
pale. The excess of silver in allo)^ renders the subse- 
quent color pale, and while more muriatic acid is used 
yet it were better to avoid all this by using as red an al- 
loy as possible. A good 14-karat allov consists of fine 
gold, 14 parts: silver, 3 parts, and copoer, 7 parts. If 
this should be found too soft, a harder alloy may be made 
by using" a parts of silver to 6 of copper. i • 

In acid coloring goods of a lower nualitv than 14- 
karat it is absolutelv necessarv that the allov should 



HOW TO MAKE JEWELRY. 61 



largely be of copper and the solution an old coloring 14- 
karat mixture, in which a quantity of work of that karat 
has been acid colored. The reason is that the base metal 
would be attacked to such an extent as to weaken or de- 
stroy the goods before a desirable color had been at- 
tained. As before remarked, the gold is also slightly at- 
tacked in 14-karat work, so that old 14-karat solutions 
contain more or less gold. It being a well known fact 
that copper is electro-positive to a gold solution, the lat- 
ter is deposited on the former upon immersion, the color- 
ing of the low grade work hastened and the loss in weight 
reduced to a minimum thereby. 

Acid coloring was originally done with plumbago or 
black lead crucibles, or sand crucibles, and sometimes 
even a thick porcelain cup or bowl has sufficed. All this 
was superseded by the platinum vessel, this last being the 
cleanest and safest method of mixing and holding the 
color. Platinum, at the time of its introduction in this 
line about twenty-five years ago, was $6 an ounce, and a 
30-ounce color pot was not considered expensive. At 
this writing, with the same metal soaring around $45 to 
$50 per ounce, it is more practical to hark back to the 
lead crucible, although one may have nickel pots with a 
platinum lining made. With care the lead or sand cru- 
cibles will give as good satisfaction. 

To get bright, snappy results in acid color work, the 
article should be polished. Where this is not feasible the 
piece, as in Etruscan work, should be smoothed with fin- 
est emery paper before soldering on the trimming. Work 
should be well boiled out in pickle after last soldering 
and all acid or pickle gotten out of hollow work by hold- 
ing over an alcohol lamp. Work is then tied in small 
bunches with silver or platinum wire, handled as little as 
possible and annealed black; this is best effected in an 
enameling furnace, or the ordinary gas furnace will do, 
being careful that no foreign substance gets on the work. 
' There are all proportions of formulas on the market; 
the following is recommended: Saltpetre, 12 ounces; 
salt (table), 6 ounces, muriatic acid, from 3 to 5 ounces, 
in proportion to silver in alloy. 



62 HOW TO MAKE JEWELRY. 

The first two items are well pounded in a mortar and 
placed in a lead crucible which has been previously 
warmed ; stir well with a piece of hard wood or a wooden 
spoon for a minute or two. Then add acid in about one 
ounce of boiling water, the mass being constantly stirred 
until it boils to the top of the pot. The heating is best 
done over a gas burner placed in a forge or under some 
good flue arrangement to carry off the fumes. The gas 
is advised as it can be better regulated than other meth- 
ods of heating. 

The pot should not be less than 8 inches high and of 
good breadth. As acid boils up, place in the work, which 
has been first dipped in boiling water and well shaken be- 
fore dipping. Keep work moving, but avoid touching 
sides of the pot. After about three minutes remove and 
plunge in boiling water, then into a second vessel of the 
same. Then add to your color in the pot 6 fluid ounces 
of hot water and when it boils up again, immerse work- 
one minute, rinse as before, and if color does not suit, re- 
peat the operation, adding more hot water to the color 
pot each time, finally rinsing in clean hot water and im- 
mediately putting in warm, clean boxwood sawdust. 

This amount of color is for 6 ounces of work of a fair- 
ly compact nature. If the goods are spready as hollow 
wire work, not as much as 6 ounces should be put in, and 
in solid, heavy work, like chain, more than 6 ounces can 
be colored. 

Manufacturers making acid colored jewelry have lit- 
tle pet secrets for getting fine rich finishes, and, of course, 
continual coloring affords them opportunities to get on 
to little "tricks." One method is to boil for a few sec- 
onds in the liquid only of the solution after work has 
been scratch brushed. Another is, during last dip add a 
teaspoonful of finely powdered alum to the coloring salts, 
If a deep orange tint is desired a teaspoonful of sal am- 
moniac instead of alum will do it. The acid in hollow 
work, after drying in sawdust, should be killed by dip- 
ping the goods in a dilute solution of ammonia water. 



HOW TO MAKE JEWELRY. 65 

The work is then scratch brushed, using a fine brass 
brush, kept for this purpose, and moistened with clean 
bran water. Some colorers put a few drops of muriatic 
acid into first rinsing vessel. It is well to work with as 
little acid as possible. 

A better color is usually gotten on bright, clear days 
and when the wind is anywhere but in the east. Work 
should not be immersed longer than enough to get a good 
bright color, avoid handling or a spot will show, always 
thoroughly dry in sawdust before brushing. The begin- 
ner is advised not to attempt any "tones" in finishes until 
he is somewhat experienced. 

A fine, bright yellow will show if first directions are 
carefully followed. The muriatic acid must be chemical- 
ly pure and kept in glass stoppered bottle. The satin ef- 
fect, as on beads or plain gold pins, etc., is obtained by 
sanding evenly all over before annealing. The subse- 
quent final scratch brushing must be done very lightly. 
The solders should be of the highest possible karat qual- 
ity, it not being advisable to use lower than 9-karat sol- 
der for 14-karat work, although 8-karat is sometimes 
used to solder on back parts, joint, catch, etc. 



£ 4 HOW TO MAKE JEWELRY. 



CHAPTER XVI. 



PRECAUTIONS IN THE COLORING ROOM. 

Proper Equipment is Real Economy— Not All Colorers 
Realize Dangers — Strong Draft Necessary to Carry off 
Fumes — Handling Fulminating Gold — Keep Acids in 
Locked Room — Antidotes for Cyanide Poisoning — For 
Poisoning by Other Acids or by Alkalies. 

IT is a subject of deepest concern that many jewelry 
manufacturers are absolutely indifferent in the 
matter of equipping their coloring rooms with 
proper appliances and apparatus for the drawing off of 
the acid fumes. To the disinterested person this must 
seem, to say the least, foolish on the part of the em- 
ployer, as well trained, experienced colorers and gilders 
are hard to replace when one is finally incapacitated 
from inhaling the cyanide fumes or those of other 
acids. The writer, in the course of some twenty-five 
years, has been in some of the largest fine gold houses 
in New York and vicinity, and in nearly every instance 
has found the tank, with the various crocks of solu- 
tions, steaming so that the vapors are being constantly 
inhaled by the work people. Men and women have 
been forced to give up positions because of their health 
being impaired. 

Now, this is all wrong and unnecessary. Of course, it 
is more or less understood that the gilder is familiar with 
the poisonous nature of his solutions, and if he is willing 
to take the job, why it is "up to him," yet it is a regretta- 
ble fact that most of these colorers, both men and women, 
are not thoroughly posted as to the deadly contents of 
their crocks and oftentimes get careless. In a good many 
cases the formulas are compounded in the factory office 
by the superintendent or foreman. 

The gilding should be done in a room or a part of the 



HOW TO MAKE JEWELRY. 65 



factory where a hood is placed over the tank containing 
the crocks of solutions. If there is not enough draft 
through the pipe leading from the hood, attach a pipe 
from the blower so there is a forced draft. In other 
words, see that there is enough suction to carry up small 
pieces of paper. The gilder should be impressed as to the 
danger of getting any of the solution in the eyes, or in 
cuts or scratches, or in fact on the person at all. A bot- 
tle of rose water kept conveniently at hand is excellent as 
a neutralizer, especially in getting in the eyes, and a little 
rubbed on the hands after each day's work will keep the 
hands and arms clear from nasty red spots. This is but 
a trifling expense, and the little thought on the part of the 
employer in this respect is appreciated by the average 
workman. Clean, cold water should always be kept at 
hand, the colder the better. Do not use hot water, for the 
reason that the cyanide will be given fresh impetus for 
damage before it is eventually dissolved in the water. 
Should one be overcome by the fumes, rush at once to' an 
open window, apply ammonia to the nostrils and send for 
a doctor. 

As one gilder puts it, whose book on gilding the w r riter 
has read with great interest, '"Once a gilder, always a 
gilder." There is a fascination about it that appeals to a 
great many, but it is pitiful to see those who have been at 
it a number of years made physical wrecks simply from 
lack of a little decent consideration. The offices are usu- 
ally fitted up with all the latest appliances in the way of 
window ventilators, fans, air shafts, etc., and yet there is 
a fearful yelp if the request is made for a comparatively 
inexpensive blower to carry off deadly fumes that are en- 
dangering the health of a number of people daily. 

Every once in a while we read of an explosion in the 
coloring room from fulminating gold. In this case it is 
nearly always carelessness of the man whose duty it is to 
make the solutions. Fulminating gold is the fine powder 
precipitated by ammonia from gold dissolved in aqua 
regia. Pour off the liquid carefully, so as not to dis- 



66 HOW TO MAKE JEWELRY 



turb the gold, and fill up with boiling water at once, 
repeat with several washings, until there js no odor of 
ammonia, then wash once with clean, cold water and 
immediately make into cyanide of gold solution, as de- 
scribed in preceding chapters. Now the point to keep 
in mind is that under no circumstances should the gold 
be allowed to get dry, even the little on the edge of the 
bowl should be brushed back into the bowl with a wet 
brush. Always leave a little water in bowl after each 
washing. Better be over zealous, seemingly, on the 
safe side. Only a short time since a man was seri- 
ously injured by removing the lid of a crock containing 
fulminating gold. It appears it had been left over 
night and some of the gold had dried on the lid. 

The refining, or acid coloring, or the dissolving of gold 
or silver in acids, should be done in a place by itself, or 
a room separated from the factory. If not done out of 
doors there should be a large forge place or big chimney, 
large enough to place the vessel right in. The men should 
be carefully cautioned not to inhale any of the fumes, and 
in the pouring of acids from carboys into bottles to be 
absolutely sure that the bottle is first empty and rinsed 
out. The room containing the acids should always be 
locked and entered only by careful and trustworthy em- 
ployes. Long association always has a tendency to make 
people careless. One man had been working in the roll- 
ing mills so long that he thought they wouldn't hurt him, 
and one day three of his fingers were taken off as a re- 
sult. It is pretty often so in handling acids, and the fore- 
man cannot keep too sharp a watch during any process 
involving the use of them. Of course, accidents will hap- 
pen, but a large number of them could be prevented. Al- 
ways remember to have plenty of cold water handy, get to 
the pure air, and as an antidote give a few drops of am- 
monia, besides allowing the person overcome to inhale it 
also. | 

Referring again to the cyanide of potassium used in 
gilding solutions it is worthy of note that five grains or a 
quantity about as large as a pea, is sufficient to kill a 



HOW TO MAKE JEWELRY. 67 

strong man. There have been cases known where people 
have been killed from simply inhaling the fumes. 

If any solution containing cyanide is swallowed, cold 
water should be run on the head and spine, and a dilute 
solution of iron acetate, citrate or tartrate administered. 
If hydrocyanic acid vapors have been inhaled, water is 
applied as above and atmospheric air containing a little 
chlorine gas should be inhaled. Another remedy for cy- 
anide of potassium getting in cuts, is to well rub with 
olive oil and lime water after first washing in cold water. 
For poisoning by alkalies : caustic soda, potash, etc., take 
weak solutions of sulphuric or nitric acid, a few drops in 
water only, or vinegar or lemonade ; after about ten min- 
utes take a few teaspoonf uls of olive oil. In poisoning by 
nitric, muriatic, or sulphuric acids, drink plenty of tepid 
water, or swallow milk, whites of eggs, calcined mag- 
nesia, or chalk and water; if these acids are spilled on 
skin, apply whiting and olive oil. Weak solutions, as be- 
fore said, may be washed off with plenty of cold water. 

In concluding this chapter, the writer begs to impress 
upon the gilder the necessity of caution in handling the 
solutions ; keep the lids on crocks not actually in work. 
Rinse hands and arms and face frequently in clear cold 
water ; use rose water often ; get fresh air from an open 
window as much as possible, and if you find your health 
is suffering, give up the job at once, before you get too 
old to start at something else. 



68 HOW TO MAKE JEWELRY. 



CHAPTER XVII. 



SILVER AND ITS ALLOYS FOR JEWELRY WORK. 
The Use of Silver in Filigree and Enamel Work — Qualities 
of Copper and Zinc as Alloys — Melting Over Causes 
Brittleness — Refining of Scraps — How the Metal Should 
be Melted — Formulas for Various Purposes — A Metal 
Capable of Many Finishes — Tests for Silver. 

PURE, or fine silver, by reason of its softness is 
used chiefly in the making- of filigree and lace 
work. In enamel jewelry, where stiffening 
pieces of sterling- silver, or a baser alloy are soldered on, 
it is sometimes advantageous to use fine silver as the 
background for the enamel. This will ensure better 
results in lustre and lessen danger of chipping the 
enamel in subsequent finishes. All goods stamped 
sterling should be 925/1000 fine, or, in other words, 
925 parts fine silver and 75 parts of alloy. It has been 
found, however, that for some purposes, the sterling 
silver is too soft, and the proportions have been 
changed, even to the extent of using 200 parts alloy and 
800 parts of fine silver. In this case it is best to use fine 
silver in parts of the article so as to make it assay ster- 
ling. Silver is much more ductile than alloyed gold and 
costs less in raising in dies, there being practically no 
"spring" in annealed sterling silver. 

In alloying silver, copper is extensively used, the chief 
reasons being that the latter metal has about the same 
characteristics as silver, melting at about 100 deg. F. 
higher, is a soft malleable metal and mixes well. Its 
great objection is that it oxidizes, and to-day certain 
manufacturers are using zinc in place of it. Great care 
must be exercised when zinc is used, as it volatilizes and 
burns out ; in using it as the alloy the silver is first melted 
under a good coating" of powdered willow charcoal, the 



HO IV TO MAKE JEWELRY. 69 

zinc, which must be chemically pure and rolled out thin, 
is added by poking it quickly in under the charcoal, then 
pouring as rapidly as possible. It is best to add a few 
extra grains of zinc to allow for loss by volatilization. 

Sterling silver, no matter what alloy is used, should 
never be melted more than two or three times, as the al- 
loys burn out, oxides form, and the silver becomes, al- 
though a better quality than sterling, hard and brittle and 
is useless for stamping or working. Add new silver with 
proper amount of alloy to your sterling scraps, or where 
it is not desirable to get out more silver, collect all the 
scraps, filings and old silver, run it down in a crucible, 
granulate and dissolve in C. P. nitric acid to which has 
been added an equal quantity of water. This is best done 
by using an evaporating dish in a sand bath over a gas 
burner. Add the acid and water carefully; if the action 
gets too violent and threatens to spill over, add cold wa- 
ter and turn off gas. When silver is all dissolved pour 
into a large crock nearly filled with water, and throw in 
a few handfuls of salt (table salt). This will precipi- 
tate the silver as a chloride. Let it stand over night, pour 
off liquid, well wash the precipitate with several changes 
of hot and finally with cold water ; then metallize by drop- 
ping in a couple of pieces of sheet iron and pouring in a. 
solution of one part commercial sulphuric acid to nine 
parts water. Stir well occasionally, and in a couple of 
days the silver will have turned black. This is now thor- 
oughly washed to remove all traces of the acid, placed in 
an iron pot«over a fire and dried. It is then mixed with 
flux (20th century is excellent), using about one-quarter 
by weight to three-quarters silver. Melt in a large sand 
crucible, let it cool, lift out of furnace and when cold 
break ; a button of fine silver will be found in the bottom. 
This may be remelted in a regular black lead crucible and 
cast in ingot, or granulated as desired and is ready for 
alloying. 

If the various processes are carefully carried out, the 
silver should be bright and shiny and easily bent. Some 



7;0 HOW TO MAKE JEWELRY. 

manufacturers who keep silver constantly on hand, using 
it for refining only, melt and granulate as it comes from 
the metallizing crock. This does not purify it, the silver 
showing a dirty, dull white, and as it is used over and 
over again, it is obvious it is gradually absorbing more 
and more traces of other metals. The' flux will burn 
everything foreign out of the silver that may have es- 
caped the nitric acid bath. > 

Silver is not an easy metal to melt as it has the faculty 
of absorbing oxygen, causing "spitting" and resultant 
blisters after cooling. It should always be melted under 
a good layer of charcoal powder, and should not be 
poured too hot; when ready pour as quickly as possible. 
In the working of silver do not anneal your work too hot. 
Many a good bar of silver has been condemned as "no 
good," "blistery," etc., when it has been the fault of the 
workman letting the silver pieces, in process of raising, 
stay too long in the annealing furnace, thus overheating 
the work, the air getting in and bringing up a surface of 
minute blisters. As soon as a dull red shows turn off gas 
and let cool. 

In melting silver with alloys of a higher temperature, 
it is a good rule to always put in alloys first and well 
cover with the silver. This will help prevent oxidiza- 
tion. Always stir well, using a heated iron rod, and make 
sure that the alloys are melted as well as the silver. 
Where nickel is used roll out very thin, anneal and crin- 
kle up before putting in crucible. 

An excellent formula for sterling silver Jtor general 
work and enameling is, fine silver, 185 dwts. ; copper, 
15 dwts. A hard silver (not sterling, of course) is 
made of fine silver, 100 dwts. ; copper, 25 dwts. The 
copper used in all alloys must be the very best, either 
purified shot copper or wire. Some manufacturers find 
the wire best in all cases. In any event the wire is 
best in making solders. A hard silver, suitable for 
snaps and stiffening parts is made of 21 parts fine 
silver and 2 parts nickel. 

A very hard silver solder for sterling silver : Fine sil- 



HOW TO MAKE JEWELRY. 71 

ver, 80 dwts. ; copper wire, 20 dwts. ; brass, 5 dwts. ; add 
brass after the other is melted. Another good solder, 
running a little easier than the above and suitable for 
work not to be enameled, is : Fine silver, 763^2 dwts. ; 
copper wire, 2&y 2 dwts.; adding 2 to 3 dwts. of pure zinc 
just before pouring. Medium silver solder: Fine silver, 
26 dwts.; copper wire, 15 dwts., adding about 15 to 18 
grains zinc as above. A very easy solder for repairing 
is : Fine silver, 40 dwts. ; brass, 20 dwts. ; adding brass 
after silver is melted. A point to keep in mind is to al- 
ways use best solder possible. The cost is trivial and the 
results are much better. All alloys tarnish and blacken 
as well as the silver itself, but the less zinc used the bet- 
ter will be the quality of the work, and in future repairs 
it is not so likely to burn out or "rot" in subsequent sol- 
derings. 

The cost of platinum has caused a number of jewelers 
to experiment with alloys of platinum and silver, and 
while as high as 33 1-3 per cent, of platinum will com- 
bine with silver, yet it is not safe or advisable for the av- 
erage jeweler to attempt to melt more than 20 per cent, 
platinum and 80 per cent, silver. The reason of this is 
that a greater quantity of platinum is exceedingly diffi- 
cult to melt without running the risk of losing silver by 
volatilization. An alloy of 80 dwts. fine silver and 20 
dwts. soft platinum can be melted in the regular furnace 
by an experienced melter. 

Silver lends itself to more finishes than any other of 
the precious metals, usually showing a much brighter Ro- 
man, rose, or green than does gold. For this reason a 
deposit of silver is sometimes given to a solid gold article 
as a preliminary to the final gilding. The French jewel- 
ers to-day use silver as mountings for diamond paved 
brooches, sunbursts, animals, birds, etc., backing up the 
settings with 18-kt. gold. These pins as new are very 
beautiful, the silver taking a mirror like bright cut in the 
hands of the skilled stone setter, but in a short time they 
are tarnished and necessitate frequent visits to the jew- 
eler for cleaning. . 



72 HOW TO MAKE JEWELRY. 



Reverting again to silver solders, it is not good policy 
to make solders out of scrap pieces of sterling or other 
silver, adding the copper, brass, or zinc, etc., as, while the 
; solder may flow all right, yet it is usually brittle by rea- 
son of the sterling silver having probably been melted 
-two or three times, as before mentioned. It pays in the 
long run to use pure silver in making up all solders. In 
melting of silver a very little borax may be mixed in. 

To test silver, file an obscure part of the article and 
touch with a solution of one part C. P. nitric acid and 
two parts water. If silver, a black spot will show; if a 
low quality (below sterling) the spot will be slightly 
greenishf but still black. A plated article, when touched 
with the acid will bubble up green. A still better test is 
to add a little red bichromate of potash to the nitric acid, 
stir well and let stand until next day; then apply a drop 
to the article to be tested and dip in water ; if spot shows 
red it is silver ; on the other hand, should the spot be 
black or corroded, yellowish, or bright copper, or, in the 
case of platinum or German silver, which shows no 
•change at all, the metal is not sterling silver. Quite some 
experience is necessary in successfully testing silver, and 
while the average pin or brooch may be quickly tested 
with a file, yet there are some makes of flat ware in which 
a white metal is employed that almost defies detection. 

The writer noticed, in a recent visit to New York one 
or two jewelry stores on the avenue in which the stock 
was entirely silver. Some delicate and original designs 
in mountings for semi-precious stones were shown in the 
form of brooches, pendants, necklaces, bracelets, scarf 
f)ins, lorgnette chains, etc. The finishes were mostly on 
the antique order, shades of oxidizing from light gray to 
black, green and rose being prominent. It would seem 
that, to the young and ambitious craftsman an oppor- 
tunity is here afforded to start in for himself in mount- 
ing up a few pieces, with the idea of building up a trade 
in this comparatively inexpensive line. There is un- 
doubtedly an outlet for saleable sterling silver jewelry of 
character and individuality of design. 



HOW TO MAKE JEWELRY. 73 



CHAPTER XVIII. 



SOLUTIONS FOR SILVER PLATING. 

Some Cheaply and Easily Made Solutions which Give Good 
Results — Details of Preparation — Making Own Solutions 
the Only Satisfactory Policy — The Double Cyanide Solu- 
tion — Use of "Strike" Solutions — Advantage of Solutions 
Without Free Cyanide. 

THE following solutions for silver plating can be 
made cheaply and will give fairly good results: 
A "dipping" solution, without the use of the 

electric current, is made by dissolving six or seven 
pennyweights of silver nitrate in about a gallon of rain 
water and adding a solution of five ounces C. P. po- 
tassium cyanide which has been dissolved in about 
three quarts of rain or distilled water. Add the cya- 
nide very carefully. At first a white precipitate shows, 
and upon adding more of the solution this white 
powder, which is silver chloride, is redissolved. The 
point to keep in mind is not to add any more of the 
cyanide solution than just enough to dissolve the silver; 
a little of the precipitate left on the bottom of the vessel 
will do no harm. If free cyanide is in the silvering so- 
lution it will attack the article to be silvered and com- 
bining with the silver in the solution will form a dull, 
dirty yellowish deposit. If the solution is properly pre- 
pared and the article to be immersed thoroughly clean 
and placed on a clean strip of zinc, a clear white color 
will show. 

A better solution, for use with a cell battery or dyna- 
mo, is made by mixing two ounces of C. P. cyanide of 
potassium in one gallon of rain or distilled water, or wa- 
ter that has been boiled for half an hour and cooled, 
hanging in a strip of fine silver as an anode, and a 
smaller strip as the cathode. Remove in about an hour 



74 HOW TO MAKE JEWELRY. 

and weigh the anode to find out amount dissolved in so- 
lution, or remove the silver cathode and hang a German 
silver cathode in place and note the color of deposit. If 
with a current of one volt there is a very thin coating, 
remove the German silver and suspend the fine silver 
again. Should the deposit eventually show yellow or 
dull it shows that too much silver has been dissolved in 
the bath and cyanide must be carefully added until the 
deposit is white. Nitrate of silver may also be used in 
making the above solution, in fact, the first solution men- 
tioned can be employed by simply adding a little free 
cyanide when used in connection with the electric cur- 
rent. 

The ambitious plater, however, soon feels impelled to 
go still further in the line of making his own solutions, 
and this policy is the only permanently satisfactory one. 
When you make your own baths, right from the pure 
silver sheet or granulated metal, you know exactly what 
you have, and can figure amount of silver in solution, 
quantity deposited on a given number of articles and 
what you will need for average daily use. 

The best silver plating solution is known as the 
"double cyanide solution," and is made as follows : Dis- 
solve two ounces of fine silver, preferably plate rolled 
very thin and cut and twisted in little pieces, in an evap- 
orating dish containing C. P. nitric acid and water; 
slightly more acid than water. This should be heated on 
a sand bath, or the dish may be placed in boiling water, 
the hot water being replenished from time to time. Keep 
under a draught to carry off the fumes, or place out 
doors, as the vapor is poisonous. The silver should be 
added a little at a time, as too large a quantity at one 
time may cause violent action and some of the metal boil 
over. Enough of the acid and water should be mixed to 
just about dissolve the silver. If, after a time, the silver 
does not dissolve, even with the heat, add more acid and 
water carefully. Usually enough to cover all the silver 
will generally suffice to dissolve it. While an excess of 



HOW TO MAKE JEWELRY. 75 



the acid does not necessarily spoil the operation, yet it 
entails a great deal more labor in subsequently getting 
rid of same. 

When silver is all dissolved, evaporate solution to al- 
most dryness, and upon cooling dissolve the mass which 
is now silver nitrate, in a gallon of water. Make a solu- 
tion by dissolving two ounces of cyanide potassium in a 
pint of water, and add to the silver nitrate solution in 
small quantities ; stir well each time, let it stand, and you 
will note a white powder settling ; add a little more until 
the precipitation ceases. This operation generally extends 
over a couple of days to be successful. Allow it to stand 
until quite clear, pour off the liquid and well wash the 
precipitate several times with water. 

Dissolve four ounces of cyanide potassium in a pint of 
water and add this to the silver cyanide with brisk stir- 
ring until it is just dissolved. Add water to make one 
gallon. This may be kept in a glass stoppered bottle and 
small baths made from it, or the entire gallon may be 
used. In all cases a little free cyanide must be added to 
the bath. No definite quantity of free cyanide can be 
given, as everything depends on the current strength, na- 
ture of the work, etc. Suffice it to say, that a little is 
added at a time until the work shows a clear white. If 
the anode is left suspended in bath while not in use and 
shows yellow, it is a sign of not enough cyanide. On the 
other hand, if there is too much cyanide, the silver is 
transferred from the anode to the article to be plated 
and then redissolved in the solution, the coating of silver 
becoming nothing but a "blush" or film. Too much cya- 
nide will also attach the article, and in the case of a brass 
or copper piece of goods, your solution will become im- 
pregnated with these baser metals, materially affecting 
the color and quality of the bath. 

The great advantage in having a cyanide of silver so- 
lution on hand which has no free cyanide is thus readily 
appreciated from the foregoing. In the case of too much 
free cyanide in the plating bath the fault is instantly rem- 



76 HOW TO MAKE JEWELRY. 

edied by adding the silver cyanide, and also in replenish- 
ing the bath from time to time. 

Copper, brass, German silver and white metals should 
be dipped in a solution of mercury which has been dis- 
solved in nitric acid. Get about ten cents' worth of mer- 
cury from your chemist, place in a cup or dish and pour 
over it a little nitric acid ; when dissolved add a gallon 
of water and stir well. This dip will last a long time. 
Articles should first be polished or sanded, as the case 
may be, then thoroughly washed and dipped in a lye so- 
lution. Dip in the mercury solution until white, rinse 
in cold water, and immediately transfer to the silver 
plating solution. Work may be scratch brushed with a 
brass brush, using a little bran water as a lubricant, or 
burnished, as desired. Best results are obtained by heat- 
ing solution and using a moderate current. 

Iron, steel and zinc should be coppered before plating. 
A copper cyanide solution is made by boiling carbonate 
of copper (about ten pennyweights) in a pint of water 
in which an ounce of cyanide of potassium is dissolved. 
Use a copper anode, suspend article in, after well 
scratch brushing. 

Another excellent coppering dip is made by dissolv- 
ing five ounces of sulphate of copper in one quart of wa- 
ter (cold) and then adding three ounces of sulphuric 
acid. Stir well ; use small copper anode. This last so- 
lution is used cold. 

Some manufacturers use "strike" solutions for the 
preliminary coats. This is an old solution of silver, rich 
in metal. The current is run up and the article sus- 
pended for a few moments. A coating of silver is 
"burnt" on, forming a base for the regular plating bath. 
Where an extra heavy silver plating solution is desired, 
as on flat ware, the following is recommended : Fine 
silver, 5 ozs. ; cyanide potassium, 6 ozs. ; cream of tartar, 
3 ozs. ; prussic acid, 1 oz. ; water, 1 gallon. 

A bright silver solution is made by dissolving two 
ounces of fine silver in a gallon of water in which two 
and one-half ounces of cyanide potassium and fifteen 



HO W TO MAKE JE WELR Y. 7 7 



dwts. cream of tartar have been dissolved. Now make 
a solution of one ounce of C. P. bisulphite of carbon and 
one pint of liquid ammonia ; mix in bottle, let stand 
twenty-four hours, well shake again and pour one ounce 
into the above bright silver solution the night before us- 
ing the bath. 



78 HOW TO MAKE JEWELRY. 



CHAPTER XIX. 



BLACK AND GRAY FINISHES ON SILVER.- 
Liver of Sulphur Solution the Standard — Process of Oxidizing 
— Methods of Securing the French Gray Finish — Relieving 
the High Lights — Touching up Parts — Platinum Solution 
for Intense Black Finish — Solution for Use With tjie 
Dynamo — A Black Nickel Solution. 

TO produce the dark bluish black finish, the 
"French gray" and "Butler" finishes, etc., on sil- 
ver, or heavily silver plated goods, liver of sul- 
phur is as good as any of the formulas in use. Some firms 
prefer it in a liquid form under the term sulphide of am- 
monia. Where it is not in daily use it should be purchased 
in small lots ; ten cents worth of liver of sulphur (in 
lumps) kept in a well stoppered bottle, will oxidize a 
great deal of work. Silver goods to be oxidized 
should, after scratch-brushing with a steel brush and 
bran water, be immersed in a caustic solution, either 
soda, lye or potash, rinsed and immediately dipped in 
the liver of sulphur solution. This last should be 
made fresh as needed ; a piece the size of a small mar- 
ble will be enough for a two quart pan of water. 
Have your work strung on a copper or brass dipping 
rod. Heat the water nearly to a boil, then throw in 
the liver of sulphur and bring to a boil, when the sul- 
phur will have been dissolved ; then immerse the work 
and it will almost instantly become a deep blue black. 
Keep the pan covered as much as possible. An ordi- 
nary enamel lined stew pan with a good handle and lid 
is all that is needed. Some finishers add a few drops 
of ammonia just before putting in the work. If work 
is left in too long a deposit is formed on the articles, 
which scales off. In this case, or if an even black is 
not obtained the first time, rinse off, re-scratch-brush 



HOW TO MAKE JEWELRY. 79 



and dip again. As soon as work shows black remove, 
rinse off, first in cold water, then in hot, and dry at 
once in hot sawdust. The pieces after well drying are 
scratch-brushed with a very fine brass brush on a slow 
lathe. This brings out a glossy blue black finish. 
Another way is to rub with a piece of flannel, slightly 
oiled. 

The French gray finish is secured by rubbing with 
pumice powder and water, using a small brush or a 
piece of cloth pad or your finger. In this case work 
is n'ot dried out in sawdust; simply rinse off after re- 
moving from the oxidizing solution and immediately 
apply the pumice powder. When the desired tone or 
shade is reached, which is ascertained by rinsing off 
occasionally as you use the pumice, the work is finally 
well rinsed and dried in sawdust. 

Another excellent method in getting the delicate 
gray is to carefully sand the work. This necessitates 
drying out in sawdust first. After sanding the dark 
spots out, finish by rubbing the high parts with the 
pumice powder. Some customers like to have parts 
brightened or burnished. This is easily done with a 
bloodstone or well polished steel burnisher, sometimes 
finishing off with the rouge buff. For certain repair 
and small jobs, a glass brush will answer for relieving 
the "high lights." This last has a tendency to give 
the silver a slightly yellowish tinge and is not asgood 
consequently as the pumice stone powder. This, by 
the way, should be the very finest grade of powder. 
There are several grades of coarseness. For touching 
up parts, a little bottle of water with a small bit of 
liver of sulphur kept on your bench comes in very 
handy. In this case warm up the work over an alco- 
hol lamp and paint on with a clean camel hair brush. 
When solution gets weak throw away and make new. 

Some platers recommend dipping work in a weak 
solution of bichloride of mercury and sal ammoniac 
before oxidizing, others give work a dip in the silver 
plating solution, thus depositing a film of fine silver. 



So HOW TO MAKE JEWELRY. 

The writer has found these of no particular benefit and 
has found that if work is thoroughly clean, well 
scratch-brushed with the steel brush and is sterling 
silver, or of a silver alloy in which copper is the prin- 
cipal metal used in alloying, that the resultant finish 
is just as good with the plain liver of sulphur solution. 
Other formulas, if the reader feels like experimenting, 
for getting a dark shade are sulphide of barium and 
water, also butter of antimony. Use very little of 
these to plenty of water. 

Another "French gray," used by a large silver con- 
cern, is a solution of 3 parts nitric acid to 1 part of 
muriatic, or : Sulphate of iron, 1 ounce ; muriatic 
acid, 2 parts, and nitric acid 1 part, using just enough 
of the acids to dissolve ; evaporate to one-fifth its vol- 
ume, cool and add one-third its volume of alcohol. 

The intense black finish is secured only with the 
chloride of platinum solution. This is obtained, as 
explained in a preceding chapter, either by purchase or 
making your own chloride by dissolving sheet plati- 
num (pure), rolled very thin and well crinkled to let 
the acids attack it readily, placing in a long necked 
flask, pouring on a mixture of three or four parts of 
chemically pure muriatic acid to one of nitric acid. 
Enough should be poured on to cover the platinum. 
Place in a hot sand bath, letting it remain until dis- 
solved. This sometimes takes fifteen or twenty hours. 
Let dry until almost cool ; add a little distilled water* 
and evaporate again ; let it cool and carefully add 
about two ounces of pure grain alcohol for each penny- 
weight of platinum used. A good plan is to have 
three glass stoppered bottles containing various 
strengths, starting with the weakest solution, which is 
diluted with half water, and finishing with the strong- 
est solution, which is about one-fourth chloride and 
three-fourths alcohol. A little experience will teach 
you how much water and alcohol may be added. A 
pennyweight of platinum will last an indefinite time and 
will make about a half pint mixture. 



HOW TO MAKE JEWELRY. 81 

The piece of silver, or the article well silver plated and 
thoroughly cleansed from all grease, is slightly warmed 
and brushed with a rather stiff brush dipped in the 
weaker solution and finally given a coating from the 
strong or first solution. Small articles are warmed over 
an alcohol lamp, taking care to keep the bottled solutions 
away from the flame. After a deep black shows the work 
is let cool and finished with a soft brush or cloth, slightly 
oiled with a little pure oil. A glossy black is secured by 
using a solution in which a little gum arabic has been 
dissolved, avoiding an excess of the gum, as it drys 
"caky" and scales off. As a rule, the article will be glossy 
enough for all requirements if carefully finished with the 
oil. 

In work that has been silver plated it is well to be as 
expeditious as possible, as the solution is liable to eat the 
plating off, exposing the metal underneath. A little ex- 
perience will soon enable the workman to get good re- 
sults. These platinum solutions will keep for years in 
glass stoppered bottles, and are always available for re- 
pairs, retouching, etc., and in jobs where it is not worth 
while to make an iron solution the work may be quickly 
given a heavy silver deposit (if not solid silver) and 
blackened with the platinum solution in a few moments, 
ensuring a beautiful black that is lasting. 

This platinum oxidize finish is largely used on gold 
work to-day, people in mourning bringing in their jew- 
elry to have it silver plated and blackened, also buying 
new goods to be refinished black. The period of 
mourning over, the jewelry is restored to its orignal 
color at slight expense. This platinum solution prop- 
erly applied gives fully as rich a velvety black as the 
iron gun metal finish, is quite durable and does not 
become pitted or show rust spots as in the case of the 
iron deposit. Chloride of platinum may be purchased, al- 
ready prepared for mixing* with alcohol, from the 
chemical supply houses or wholesale druggists. Work 
after being well blackened is carefully brushed w T ith a 



82 HOW TO MAKE JEWELRY. 

slightly oily brush or rubbed with a cloth. A little 
chloride of iron may be added to get a little less expen- 
sive solution. It is advisable, however, to keep the 
platinum in the larger proportion. 

Here is another recipe for a black finish in which a 
well regulated dynamo must be used: Water, I gal- 
lon; acetate copper crystals, 3^ ounces; carbonate of 
soda, 3^2 ounces; bisulphite of soda, 3 ounces; C. P. 
cyanide of potassium, yy 2 ounces. Moisten the cop- 
per salt first to make a paste ; next stir in the carbo- 
nate of soda, then the bisulphite of soda, and finally 
the cyanide. The solution must be colorless; if not, 
carefully add more cyanide. The article is plated in 
this solution, using copper sheet anode and a cur- 
rent of about 1 volt for small stuff. When a good cop- 
per deposit has been obtained remove the article and 
immerse it in a solution of 2 ounces nitrate of iron and 
2 ounces of hyposulphite of soda to 1 pint of water 
(rain or distilled). Warm it up, not exactly boiling, 
wash, dry and brush. The better the article is pol- 
ished the deeper will be the black lustre. 

There are various black nickel solutions on the mar- 
ket ; the following is good : Nickel solution, 1 gal- 
lon ; carbonate of ammonia, 3 ounces ; liquid 20 per 
cent ammonia, one pint; white arsenic (powdered), 1 
ounce; and enough cyanide of potassium to make so- 
lution clear. Pulverize the carbonate of ammonia and 
add it to the nickel solution. Next add the liquid 
ammonia. Now dissolve the arsenic in a small quan- 
tity of the solution (make it into a paste) and add, the 
cyanide of potassium being added last, using just 
enough to clear; it should be about the color of dark 
vinegar. Use a nickel anode, with not too strong a 
current. If the work shows streaks or spots, remove 
and scratch brush, then use a stronger current. Too 
much current will show a dirty gray black. After the 
solution has been used for some time the deposit may 
be off color. In such case add a little more arsenic. 



HOW TO MAKE JEWELRY. 83 



CHAPTER XX. 



GUN METAL FINISH. 
An Iron Coating That Stands the File Test — Directions for 
Dipping — Process and Formula for Gun Metal Finish — 
Cheap Enough to Experiment With — Always a Demand 
for This Finish — Use Fresh Solutions. 

TO get a. coating of iron that will stand the file test, 
the following solution is given : Sulphate of iron, 
12 dwts. ; dissolve in 15 liquid ounces of water; 
add 6 ounces of 20 per cent ammonia, well stir, and then 
add on.e and one-half ounces of Rochelle salts. Use hot. 
Have good, clean current connections and plenty of sheet 
iron anodes. Current should be regulated to amount of 
work, but need not be over three volts. Work is well 
sanded, scratch brushed with steel brushes and dipped in 
a weak, hot solution of caustic soda in water, before im- 
mersing in bath. Take out frequently and well scratch 
brush until an even deposit is obtained, when work may 
be left in from fifteen to thirty minutes. On the first dip 
the work will show a rich black; this, however, is but 
a film, and will brush oft to a lighter shade. Be sure that 
the entire article is coating evenly before giving the heavy 
deposit. If directions are properly followed, a grayish 
white (like dull silver) deposit of pure iron will be the 
result, about the thickness of the paper this is printed on. 
If a thicker coating is desired article may be left in 
longer, scratch brushing at intervals ; the thickness of 
deposit is ascertained by taking a fine needle file and 
applying it to the article. If the work does not appear 
to be "taking." run up the current a little ; as high as 
six volts may be used, but where work is enameled the 
lowest possible current must be used. 

To get the deep blue black or gun metal finish, the 
work is rinsed off in hot water after the final scratch 



84- HOW TO MAKE JEWELRY. 

brushing and hung by a copper wire in a porcelain or 
enameled pan containing a solution of 12 dwts. acetate of 
lead and 12 dwts. of hydrosulphite of soda; each of these 
ingredients having been previously dissolved in a half- 
pint of water, then poured together and warmed. After 
the work is immersed bring to> a boil, remove, scratch 
brush, and repeat once or twice, when it will present a 
bluish appearance ; wipe dry, and if hollow hold over an 
alcohol lamp to dry out ; now take an oiled brush or cloth 
and brush or wipe carefully, avoiding an excess of oil — 
just a smear is all that is wanted — using boiled linseed 
oil. Wipe or brush almost dry and hold over an alcohol 
lamp; watch carefully until a deep, velvety black shows, 
when let cool and hang in linseed oil until wanted. Work 
in quantity is "baked" in iron ovens made for this pur- 
pose, and of course can be better regulated as to temper- 
ature, etc. 

It will require experience and patience to get through 
the various operations successfully, and the beginner 
should practice on some metal pins before attempting to 
take up the work in hand. For all small work, as 
brooches and handy pins, the alcohol lamp may be used, 
but in lorgnettes, hand bags, cigar cases, etc., the oven is 
necessary. The work as it comes from the acetate of lead 
bath is almost deep enough in shade, and only needs the 
additional heating to give it the desired gun metal color. 
Any size bath, of course, may be made by simply keeping 
the same proportions; being an inexpensive solution the 
amateur may experiment to his heart's content, and by 
regulating the heat, get shades from a deep blue black to 
an intense velvety black. Sometimes the acetate of lead 
and the hydro, soda may be old stuff, in which case use 
a little larger quantity. 

There is always a demand for jewelry with the genuine 
gun metal finish, and of late years black enamel pieces, 
chains, or brooches, showing absolutely no gold at all, are 
constantly being called for. In the case of the chain, it 
being impossible to enamel the small connecting links, the 



HOW TO MAKE JEWELRY. 85 

gun metal solution is used after chain is enameled and 
soldered together and an all black effect for deep mourn- 
ing is obtained. In this way many articles received from 
private customers may be given the black finish during 
a period of mourning, the black being removed at a tri- 
fling expense and the piece of jewelry restored to its orig- 
inal state when desired. To remove the iron deposit, boil 
in a solution of nine parts water and one part sulphuric 
acid, of course, first removing all pearls and all semi-pre- 
cious stones, corals, amethysts, topaz, etc. 

Iron solutions generally work best the day after they 
are made. They will keep in glass stoppered bottles, but 
should not be kept too long; better make fresh solutions 
often. 



86 - HOW TO MAKE JEWELRY. 



CHAPTER XXI. 



SILVER AS A BASE FOR BLACK ENAMEL. 
A Demand for Sterling Silver Jewelry — Cost of the Metal is 
Small Compared with That of Gold— Black Enameling 
Presents Field for Great Opportunity — Method of 
Getting a Satiny, Frosted Effect — Use Care in Handling 
Acids — Process of Annealing. 

A LARGE number of manufacturers of fine gold 
jewelry, recognized as such throughout the trade, 
find it a paying proposition to also make sterling 

silver jewelry. The chief reasons for so doing are first, 
that there is a demand for it; second, the cost of making 
the dies that are used for the gold work, and which are 
used in the silver goods, is overcome in the increased 
output, and third, it affords employment to a number of 
employees who would possibly be idle during the dull sea- 
sons in the gold line. The third reason is not wholly phil- 
anthropic, as lack of employment causes disorganization, 
workmen seek other positions, and when the orders come 
in and the rush season is on it is not an easy matter to get 
suitable artisans skilled in the work to making the pro- 
ducing end run evenly as formerly. 

Sterling silver costs about three cents a pennyweight, 
io-kt. gold, forty-six cents,- and 14-kt. gold sixty-five 
cents. It is readily seen that the cost of the metal is com- 
paratively nothing as compared with gold, and as silver 
goods are usually made in large quantities the labor is 
consequently less. Now, silver is a precious metal, is 
solid all the way through, and is demanded by custom- 
ers who will not wear the rolled plate gold jewelry, and 
in the shape of summer jewelry, class pins, buckles, cuff 
links and buttons, especially where the design is unusual 
and the die work superfine, the sale is rapid, and orders 
are duplicated. 



HOW TO MAKE JEWELRY. 87 



Some houses make a die and use it exclusively on gold 
the first season, thereafter working in both gold and sil- 
ver. Odd designs or novelties will sell better in silver 
than gold, the customer getting a solid article cheap and 
also knowing that the changing fashions will make the 
piece of jewelry look out of date the following season 
and the low cost will enable the purchaser to buy the 
latest design. 

As noted in a previous chapter, silver will admit of 
infinite finishes, colors, shades, etc., but the writer does 
not propose to speak of these here except the making of 
sterling silver jewelry for black enameling. This is a 
field for great opportunity if the goods are finished prop- 
erly. It is, of course, obvious that there is a demand for 
mourning goods and always will be. The average person 
is unable, or may not care to purchase solid gold black 
enamel pins, buttons, cuff links, bracelets, or chains, and 
therefore looks for an inexpensive substitute that is not 
plated, brass, etc. Silver is the only logical metal, and 
is thoroughly practical for all kinds of enameling. Black 
enamel work is most durable and lasting, keeps its in- 
tense black, and in comparison with the gun metal, or 
the various oxidized finishes stands easily away in the 
lead. 

The art of enameling is perhaps not as difficult as it 
may seem. To those who are finding some difficulty in 
getting good results the writer gives the following tips : 
Have a depth cut of about forty points, dial screw gauge, 
with the stop line at right angles, cut straight and sharp. 
All work should be thoroughly clean and annealed before 
charging. Always use the hardest running enamel your 
work will stand. In black enamel work the piece should 
be dipped in hydrofluoric acid and brushed with sand and 
water before the last coat of enamel is put on. This is 
done to remove scum in the enamel which might show in 
the subsequent frosting or etching. On flat work the 
enamel is usually put on thick, then filed with carborun- 
dum, or emery files and water, then lapped on a felt buff 



88 HOW TO MAKE JEWELRY. 

which is charged with purnicestone and water. This lev- 
els the enamel to the stop lines, making the surface of the 
article smooth and even. It should be said that work is 
fired after the filing and before lapping on the felt buff. 

There is a demand for well made and finished black 
enamel jewelry, and to get the best results the work is 
etched or creped.in two solutions. Solution No. I is made 
of hydrofluoric acid well broken by adding three to six 
ounces carbonate of ammonia, small pieces at a time, un- 
til work after immersion for about one minute shows a 
dull, grayish, even black. If acid is too strong the work 
is pitted or is uneven, dull here, bright there; it must be 
absolutely uniform before the final dip in solution No. 2. 
This solution is the same as No. i, except that about one- 
half the carbonate of ammonia is added. Work should 
be dipped in this only for an instant, then immediately 
plunged into clean, cold water and brushed with a stiff 
tampico brush. It is well to have two bowls, papier ma- 
che or rubber, as all glass or porcelain is dissolved by the 
acid. Work for dipping is placed on little disks of brass 
well perforated, and connected to a long handle of brass 
or copper. Get your plumber to make you a few lead 
cups, with covers, for holding the acid. 

Work as it is taken from No. I solution shows a gray- 
ish scum. After plunging in first bowl of water and then 
rinsing off in the other after brushing, the work is wiped 
with clean cloth and if not found to be evenly etched is 
again immersed. Be sure that work is right before giv- 
ing the final dip in No. 2. The beautiful soft velvety 
black finish is gotten this way, and by experimenting with 
different strengths of acids the dull black, velvety black, 
also the bright satin-like lustre is acquired. The writer 
has seen work that is spoiled by using a white acid, which 
gives work a gray finish and a cheap look. In ordering 
enamel always state quality of your goods ; gold, silver, 
or metal, and state also whether for polished enamel or 
for etching. 

Great care must be exercised in handling hydrofluoric 



HOW TO MAKE JEWELRY. 89 



acid, as it is very powerful and a drop on the flesh leaves 
a very painful wound ; should any get on, plunge at once 
into clean, cold water from faucet. It is best kept in 10- 
pound lead jugs. The carbonate of ammonia should be 
kept air tight. Acids once broken down and working 
right, may be kept for some time in the lead cups well 
covered. 

All work, after final dipping, which is known to be all 
right by drying one or two pieces, is placed in a clean 
dish and kept under water until it is convenient to wash 
it out well in warm water with soap and a little ammonia 
and drying in best boxwood sawdust. A point to keep in 
mind is that work must be kept under water after once 
having dipped in acid and until after the final washing 
and drying in sawdust. 

Some houses have gone after the black enamel line. and 
make a specialty of it, advertising themselves as such. 
The above formula is used by the best firm in the busi- 
ness to-day, making 14-kt. and 18-kt. goods for the best 
stores in this country and also for the Paris store of one 
of the largest houses here. This manufacturer has also 
made a great quantity of sterling silver, but of late years 
has been forced to discontinue this owing to the increased 
demand for the gold goods, not having the capacity and 
facilities, also possibly not caring to handle both. 

Sterling silver black enamel work is usually gilded 
either Roman or 14-kt. finish, which wears well and sur- 
vives a period of mourning. 

While it is advisable to have a regular enamel anneal- 
ing furnace, yet good work can be done in a coal stove. 
Use good live fire, all the gas burned off, and place work 
in on a sheet iron stand which rests on a fire clay disc or 
plate as a foundation. Watch carefully and do not over- 
heat so that pin is unsoldered or melted. Black enamel 
work, if well dulled, presents a beautiful velvety finish, 
looking very much like onyx jewelry only richer and 
more even in shade. A bright, dull, or "greasy" finish is 
acquired by giving it a lightning dip in a still stronger 



9 o HOW TO MAKE JEWELRY. 



solution, *. e., less carbonate of ammonia in the hydro- 
fluoric acid. At all events, avoid the dull, dirty gray so 
commonly seen on the cheaper grades of jewelry. It 
does not cost any more to get it right after you have once 
gotten the hang of it. 

No matter what the final tone is to be, all black enamel 
work is given the preliminary dulling in the first solution, 
which must be very weak. If it is not so, your work will 
come out pitted, streaky, with bright spots here and 
there, all caused by too strong a solution. The second 
acid brings up the rich black in its various tones, shad- 
ing from dull to a brighter, satiny, frosting. Do not use 
white acids for creping, nor any ready prepared frosting 
solutions. It is best to get a io-lb. jug (lead) of hydro- 
fluoric acid and a can of carbonate of- ammonia and break 
it down yourself, so you will know where you are at. 

Bear in mind that the enamel in the solutions is etch- 
ing, or eating away, thereby thinning the coating and 
running the chances of showing through to the metal. 
Experiment with old discarded goods until you get the 
acids "right," and then proceed as rapidly as possible. 
In buying enamel, always state whether you want it for 
bright or dull finish, and also tell what metal you are go- 
ing to use it on. 

In raising sterling silver work for enameling, the 
writer finds that the best results are obtained if from ten 
to twenty points, dial screw gauge, thicker stock is used 
than that of gold, or in other words, from one-quarter 
to one-half as thick again as the gold work. This extra 
thickness on the part of the silver is necessary to over- 
come the softness of that metal and the consequent bend- 
ing and chipping of the enamel. In comparing black 
enamel gold work with that of silver the enamel shows 
exactly the same, and in the case say of a pair of silver 
link buttons, the metal will cost about twenty cents and 
will look exactly the same as a pair of solid gold links, 
with the metal costing anywhere from $3 up. The siJver 
links will wear as well and give the same satisfaction and 
answer the purpose. 



HOW TO MAKE JEWELRY. 9 1 



CHAPTER XXII. 



ENAMELING. 
Avoid Dust in Enameling Room — Preparation of Enamels — 
Charging and Firing — Modeled and Painted Work — How 
to Remove Enamel — Fluxing — Firing on Ornaments — 
Very Close Inspection is Necessary — Engine Turning vs. 
Hand Engraving. 

WHERE possible, enameling should be done in a 
room removed from the machinery, belts, etc., 
the floor should be sprinkled to keep dust par- 
ticles down and finer grades of work should always be 
kept under glass covers while in process of charging or 
painting. Have the furnace in a dark or well screened 
corner, so that work may be more carefully fired. For the 
lower priced enamel jewelry and metal goods, enamel ma- 
chine grinders or crushers are used, as also when a large 
quantity of enamel of one color is to be prepared, but in 
the finest and most expensive jewelry the • enamel is 
crushed by hand, using a steel pounder that fits snugly into 
a steel block so that enamel will not be lost in the breaking 
and pounding. When well pulverized, the powder is re- 
moved, well rubbed and washed out with several washings 
in an agate mortar, using distilled water that has been fil- 
tered through best filtering paper into a glass stoppered 
bottle. In fine work it is absolutely essential that the 
enamel be well ground and thoroughly washed to remove 
all grit, scum, etc. Now put into enamel cups ready for 
charging; keep moist and cover article evenly with first 
coat, using round steel charges % in- thick, flattened out 
on the ends. Keep a number of small pieces of clean, 
white blotting paper handy for use in taking up excess of 
moisture in enamel ; by pressing around the edges of pin 
the water is drawn into the blotting paper. Work should 



92 HOW TO MAKE JEWELRY. 

not be allowed to stand too long before firing, as enamel 
will dry and fall off. It is advisable to have sheet iron 
forms that work fits into, as in the annealing soldered 
parts may be loosened or strained. 

In opaque enamel work, inlaid, see that edge or stop 
line is sharp and at right angles, especially in white enam- 
el, as white requires more care in avoiding burnt or yel- 
low edges. About the right depth of cutting for enamel 
is 40 points on the dial screw gauge. Carborundum files 
are used for filing enamel flat to gold edge, keeping them 
wet in water. The work is then given a final firing and 
the face of pin is lapped on a felt lap charged with pum- 
ice powder and water. This operation removes waves, 
blemishes, etc., and gives a mirror-like finish to work. 
Work that is modeled, as flowers, etc., of course cannot 
be lapped, so greater care must be exercised in the charg- 
ing of the enamel so that the shape of flower is kept and 
the enamel spread evenly. 

All work for painting, tinting, veining, etc., is first 
given an opaque white enamel ground, using as hard a 
white as quality of goods will stand. Use liquid paints 
furnished in tubes by first-class enamel paint supply 
houses, as they are better than the powders. Paint should 
be well rubbed up with oil of lavender. As a rule work 
burns a little darker in repeated firing, so it is well to 
keep it a shade lighter than the sample to be matched. 

Black, or almost any opaque enamel work, is usually 
done in about three chargings and firings ; in the case of 
the black, the work must be dipped in a weak solution of 
acicl, to remove any possible scum, and well brushed with 
sand and water before the final charging and firing. 

In preparing enamel it is well not to pound up more 
than enough for the day's work, as the moist mixture 
"sours," to a certain extent, over night. 

Enamel may be removed from work by letting stay in 
hydrofluoric acid over night or in case of need it is boiled 
off in a copper pan over a gas burner placed in the forge 
or where there is a good draft to carry off the fumes. 
Where work is done on a large scale, a suction hood, 



HOW TO MAKE JEWELRY. 93 

with forced draft from a blower should be installed, as 
the fumes and vapors are poisonous and will "frost" all 
the windows, spoiling spectacles, etc., costing at the end 
of a year many times over the cost of a hood with pipe 
from blower. 

All the regular colors of enamel, as black, white, tur- 
quoise, green, red, etc., require no fluxing for either 
bright finish or for etching; but work that has been 
painted or shaded is usually given a light coating of flux 
to protect the painting, as in the subsequent etching the 
paint, or some of it, would be attacked. In some flower 
work, however, where the painting is of one shade, with 
no veins, a much more delicate result is obtained by us- 
ing a slightly darker shade of paint and not fluxing. In 
the etching the paint is, as said before, attacked and upon 
removing and washing out, a lighter shade is the result, 
the edges of flowers are thinner and more natural, as the 
flux, which is a transparent enamel, makes edges thick 
and the whole effect clumsier. 

Some enamel jewelry, as belt pins, handy pins, etc., are 
embellished with little gold stars, dots, etc., scattered at 
intervals over the pin. These little ornaments are 
punched out of fine gold rolled as thin as tissue paper, 
filed up to the shape and fired on in the last firing. 

In pins, where only sections are enameled, much better 
colors are secured by using a fine gold background ; take, 
for instance, a brooch having a small red enamel star or 
other ornament ; if a piece of fine gold be fitted in the red 
enamel is richer in color. In cases of transparent blue 
and amethyst a background of fine silver is used, always 
keeping in mind the fact that all transparent enamel is 
brighter and richer if work is put through stripping solu- 
tion to remove fire stain and the background is rouged 
before enameling. All work should be examined and all 
edges, burrs, etc., well scraped and rounded so that pin 
will not show transparent in spots after enameling and 
etching. 

Work that has settings soldered on to be flush with the 
enamel, and, in fact, anything that is to be enameled up 



94 HOW TO MAKE JEWELRY. 

against the solder line should be carefully scrutinized for 
pin holes, unsound soldering, etc., as all these imperfec- 
tions will cause more trouble in the subsequent setting of 
the stones and finishing. 

In work for transparent enameling showing an under- 
cut pattern of engine turning, some very fine effects are 
shown by using these machines. Some very pretty pat- 
terns can also be cut by hand, and on certain work the 
cost is not any more ; take a bar pin, say two inches long 
and one-quarter inch wide. An engraver can cut a spray 
of leaves, using a lining tool to make the background, 
which when enameled has an artistic effect and sells well. 

Unless one is going into enameling strongly and on a 
large scale the purchasing of circular, straight line and 
oval engine turning lathes, with a large variety of pat- 
terns, rosettes, etc., is a rather expensive proposition, es- 
pecially as styles are fickle and change rapidly. 

Where it is practical, work for enameling should al- 
ways be made out of newly alloyed gold, always remem- 
bering that an alloy with as few ingredients as possible is 
best, and the least number of meltings and annealings will 
result in less oxides. 



HOW TO MAKE JEWELRY. 95 



CHAPTER XXIII. 



ENAMELING (CONTINUED). 

Variety of Design and Economy of Production a Feature of 

Enamel Work — It Also "Looks the Money"— Quality of 

Gold to Use — Engine Turned Goods — Specializing the 

Work — Flux for Use Over Painting — To Get Black Lines. 

THE old saw about "The jeweler's work being poor 
and tame without the engraver's cunning art," 
may be applied with equal truth in the enameling 
of jewjelry. In the ceaseless striving for new effects at 
salable prices enamel work is most kept in mind. There 
are two excellent reasons for this, the first, being the in- 
finite variety of styles and designs one may get with the 
use of enamels and the second, is the cost. A large and 
very showy piece of jewelry, looking every cent the 
money, can be produced at comparatively moderate cost 
by the judicious use of enamel parts. Take as an in- 
stance, a finely enameled iris, with a platinum stem or 
twig set with a few diamonds, or a large pansy, the edge 
of which is set with small stones, or fancy scroll, or lace 
work pin where the enamel is artistically worked in with 
the precious stones. 

In the making of these pins it is obvious that the slight 
additional cost of using high quality gold more than off- 
sets the frequent chipping of the enamel (or at least the 
likelihood of it) that usually results in the using of gold 
that is of low quality and perhaps has been melted over 
several times. At the same time there is a danger of mak- 
ing gold too fine and consequently too soft for practical 
purposes. As an instance, one large manufacturer made 
recently a lot of 22-karat goods, making them extra heavy 
and massive. He succeeded in placing them in the fine 
stores on Fifth avenue, New York, but they did not sell 



96 HOW TO MAKE JEWELRY. 



and were sent back to be credited off, and went to the 
melting pot. The goods were too heavy, the softness 
making it necessary, and also too high priced ; in other 
words, they did not look the money. While on this sub- 
ject, it is noteworthy that shoppers pass up as a rule any- 
thing over 14-karat in this country, but seem to buy, and 
favor the purchasing of 18-karat and better in the Euro- 
pean countries. 

Every maker of fine enamel jewelry has his pet alloys 
and uses anywhere from 14-karat up. An 18-karat alloy 
of 18 parts fine gold, 4 of silver, and 2 of copper is a good 
one to work on. If a lower quality is desired simply take 
from the gold and add to the silver and- copper so that 17- 
karat would be fine gold, 17 parts; silver, 4^ parts, and 
copper, 2.y 2 parts. Softer alloys may be made by using 
more silver and less copper. It is not advisable to use less 
than the quantity of copper given, however, as the alloy 
being soft it is liable to bend and chip the enamel. 

The beautifully enameled watches and lockets exhibited 
in the stores were, in the first instance, imported, some of 
the jewelers here manufacturing them later. These goods 
were all made in 18-karat and snowed some fine engine 
turning combined with a little hand cutting, and were sold 
for a little less than they could be made for in this coun- 
try, in spite of the high import duty. The writer saw 
some silver bonbon boxes from Germany selling for $6 
apiece that could hardly be engine turned alone for that 
money, to say nothing of the cost of enameling in varied 
and many colors, the making of the box, etc. The reason 
is that goods are made of one pattern in enormous quan- 
tities, also the cost of labor being about one-quarter that 
of this country. 

It is quite possible, however, to so specialize your work 
that you can compete. One Newark firm has made a suc- 
cess and created a big business by devoting all their atten- 
tion, time and money to engine turned goods. One of the 
members went directly to Switzerland, the headquarters 
of engine turning lathes, and got all the Jatest informa- 
tion, newest "rosettes," or patterns, and other wrinkles. 



HOW TO MAKE JEWELRY. 97 

A's a consequence, others simply have to go to this house 
for a fine job or to match a piece of foreign jewelry. The 
point is that you can't nibble at everything ; you may have 
an established trade with a few old concerns, but the 
young blood coming along is forced, as a matter of self- 
preservation, to keep thoroughly posted on the newest and 
most up-to-date novelties, so the specialist is bound to get 
in because he will have better goods at lower prices. 

There are two lathes necessary, the circular, to which 
may also be fitted an oval chuck, and the straight line. 
These lathes come from Switzerland and are fitted with 
numbers of pattern or "rosette" wheels which, by means 
of set screws and other attachments, levers, etc., will ad- 
mit of an almost endless variety of designs. They may 
be purchased for about $200 to $250. They are fitted so 
that the work may be directly turned. 

There are also engine turning lathes for dies. These 
are built on stronger lines with powerful holders for the 
die. To the maker of work in quantity the die lathes are 
the proper thing, although the cost of them is about $500. 
The die once made, however, there is no extra cost over 
that of any other die raised article. Some firms have 
their die cutting done outside ; a firm in New York makes 
a specialty of engine turned dies for the trade. 

All work for transparent enamel should be first put 
through the stripping solution and rouge buffed. This 
ensures, a bright background for the enamel and presents 
a much livelier and richer finish. It is not customary to 
stamp the gold, other than 14-karat, for the reason that 
the joint, catch and pin tongue are usually of that quality 
and if stiffening parts are used they may also be of the 
same grade. In other words, only the part that is to be 
enameled need to be of better quality. In the opaque 
straight colors, as red, blue, turquoise, black, white, etc., 
a 14-karat alloy of fine gold 14 parts, to 7 of silver and 3 
of copper, will stand up well and it is not necessary to use 
any better quality. 

It is apparently impossible to get a pink enamel that 



9 8 HOW TO MAKE JEWELRY. 



will stay pink in the firings and not get a yellowish brown 
on the edges. A number of makers of enamel have a so- 
called pink which might possibly do for low priced or 
plated jewelry, but the finest pink enamel work to-day is 
painted. This is done by first coating the pin with white 
enamel and painting on the pink, using shades of fusible 
lilac purchased in tubes. Some stores prefer a very deli- 
cate pink and others demand a more solid color. It is es- 
sential to use the very hardest running white enamel that 
the goods will stand. 

In ordering enamel always state what you are going to 
use it on. The tool and material supply houses have a 
stock of enamel which is mostly easy running for repair 
work. Enamel jewelry after painting and firing will last 
longer if a final coat of flux be fired on. This flux is 
nothing more than the best transparent glass well ground. 
One house the writer was with bought quantities of drug- 
gist's small pellet bottles and ground them up as a flux. 

The beautiful frosted or etched effect may be given to 
enamel by quickly immersing in a solution of hydrofluoric 
acid and carbonate of ammonia. The ammonia is simply 
put in to somewhat lessen the strength. Holding- 
over the mouth -of the acid jug will oftentimes sufhce. 
The creping of black and other opaque enamel work 
was taken up in a preceding chapter ; greater care must be 
exercised in the mixing of the acids and in the dipping 
and finishing. Hydrofluoric acid should be kept only in 
lead or rubber jugs ; avoid inhaling the fumes and always 
keep a large dish of clear, cold water handy in case you 
should accidentally get any of the acid on you. 

A very good black is secured on jewelry where it is de- 
sirable to keep the veins, lines, etc., prominent, in the case 
of a face which would be filled up to a certain extent 
with enamel, by simply painting with iridium black (fusi- 
ble) and firing. Some fine work has been done in this 
way, notably Moor's heads with a large baroque pearl as 
the head ornament or fez. 



HOW TO MAKE JEWELRY. 99 



CHAPTER XXIV. 



MELTING PLATINUM. 

Cost of Melting and Tedious Wait Offsets Expense of In- 
stalling Oxy-Hydrogen Furnace — Details of Operation — 
Close Attention Needed — Platinum Faced Nickel in Sheet 
and Wire — Recovering the Platinum from Plated Stock. 

JEWELERS using platinum daily and in fair quantity 
are gradually installing platinum melting furnaces. 
The chatge for melting scrap is in the neighborhood 

of $1.50 per ounce where it is taken in exchange, and 
this, coupled with the time it takes to get new platinum, 
more than offsets the cost of the oxygen and hydrogen 
tanks, these being the only running expense. The fur- 
nace is capable of holding a crucible having a capacity 
of about 100 pennyweights, and is a round, table-like 
affair of iron. The crucibles are specially made for melt- 
ing platinum, and are thicker than the ones used for gold 
or silver. The two tanks, one containing oxygen and the 
other hydrogen, are purchased from the New York Cal- 
cium Light Company. A meter is also sent, with a wrench 
for turning on or off the gases and for regulating the 
pressure. These tanks, when found to be nearly empty 
are replaced by other freshly filled ones. 

Now the melting of platinum scrap, whether pure, or 
alloyed with 10 per cent or 20 per cent iridium, is not as 
difficult as it perhaps would seem, and if the following 
directions are carefully followed, anyone who has done 
any melting of gold or silver will soon get onto the knack. 
The scrap is first rolled thin, say about 40 points in the 
dial screw gauge, cut in small pieces about one-quarter 
inch square; place a few pieces only in the crucible and 
start the gas furnace. The gas and air are supplied by 
means of the ordinary rubber tubing, or, if one desires, 



ioo HOW TO MAKE JEWELRY. 



a pipe can be attached ; regulate your furnace as in other 
melting and prepare your tubing for the tanks. A tube 
is connected with each tank, combining and feeding one 
nozzle. This nozzle is also supplied by the material 
houses which sell the furnaces and is a specially made 
mouth of about the same stuff as the crucibles. 

As soon as the crucible is thoroughly red hot, or when 
it is noticed that it will not get any hotter, take the nozzle 
in your left hand, using some sort of asbestos shield in 
front for protection and ignite the hydrogen first by turn- 
ing the nut at the top of the tank. Regulate until you 
have a flame about the length of a lead pencil. Now turn 
on your oxygen in the same manner. Turn very slowly 
and watch flame until it gets more intense in*volume and 
finally "spits." Take off the cover of the furnace and in- 
sert mouth of the blow pipe. Keep about an inch from 
the platinum, which should get white hot and melt almost 
immediately. Watch closely, using a large pair of black 
goggles, and keep your hand and wrench on the oxygen 
tank. When melted into a button, have a careful assist- 
ant add more scrap, a little at a time, using an iron tube 
or scoop. If too much is put in at once there is danger of 
having trouble in melting. 

In the process it sometimes happens that one of the 
gases may go out; perhaps the tubing may get bent or the 
pressures are not just right. In this case quickly turn off 
the oxygen and then the hydrogen and start over again. 
A little experience will teach you how to avoid this. The 
moment the flame is removed the platinum hardens, and 
with thirty or forty pennyweights in the crucible in a 
lump it is difficult to get it melted again. The point to 
watch out for is to get the combination of the two gases 
just right before starting to melt. As said before, if flame 
"spits" the metal will melt at once. When all scrap is 
melted turn off the oxygen then the hydrogen and finally 
the gas. The crucible is lifted out and turned over; a 
sharp rap will loosen the button, which is then cooled and 
worked up into plate or wire, as desired. In this way the 



HOW TO MAKE JEWELRY. »i 



manufacturer can melt his own scrap several times dur- 
ing the day if he desires. The tanks cost about $6, and 
with care last for a great many meltings. 

With platinum containing 20 per cent iridium soaring 
around the $50 per ounce mark, and pure platinum only a 
few dollars less, there is a great deal of experimenting be- 
ing done by refiners of this metal. One firm is making a 
platinum faced nickel sheet and a platinum clad wire, 
both of which are finding a ready market. The propor- 
tions of platinum and nickel are varied to suit the buy- 
er's requirements. Pure nickel is sweated to the plati- 
num, no solders being used. The wire is a seamless ingot, 
hollow, of platinum into which is inserted the nickel. 
This metal will work up into almost any shape and the 
wire may be drawn to any thickness or rolled flat and 
worked into knife edge wire without exposing the nickel 

centre. 

Ordinarily the platinum faced sheet is 25 per cent plati- 
num, costing $22 per ounce, and the wire 30 per cent plat- 
inum at $24 an ounce. The specific gravity of pure plat- 
inum being 21.6 with the above sheet 10.4 and the wire 
10.8, you get about twice the number of square inches per 
ounce of wire and slightly more in sheet. Users of this 
plated stock can exchange the clean scrap for new plate 
at a cost of about $3.50 per ounce. If the jeweler so de- 
sires he can recover the platinum by putting in nitric acid, 
which eats off the nickel. Should the acid not seem to be 
working, if no action, bubbling or effervescence soon 
shows, carefully add muriatic acid. In this case do not 
add more than i's necessary to start dissolving, as you have 
now made aqua regia, and in the proportion of about 3 
parts muriatic to 1 part nitric, it will attack the platinum 
itself. There is practically no danger of this happening, 
however, until all of the nickel has first been dissolved. 
Use chemically pure acids. In the matter of platinum fil- 
ings do not attempt anything with them. You will be 
better off by sending to the refiner. 

It has been found that 20 per cent of indium is about 
the maximum quantity that may be melted with pure plat- 



iQ2 HOW TO MAKE JEWELRY. 

inum to give it hardness. More than this makes the metal 
too brittle, scaly, and extremely difficult to work, roll or 
draw into wire, etc. In ordering it is advisable to get it 
as near the size you want it for as possible, especially in 
the case of the wire. This extra hard platinum is used in 
snap pieces, stiffening or brace parts, eyes for eyeglasses 
and spectacles. A 15 per cent or 10 per cent iridium plati- 
num is also used for various purposes. The pure plat- 
inum should always be used in raising hollow work, or, 
in fact, any die work, and particularly for the setting of 
stones. The iridium, while it alloys with the platinum, 
seems to do so very much against - its will, and a brittle 
pr scaly spot will often show up, which in settings would 
be costly. 

Another point to be taken note of is, that in returning 
platinum scrap for credit or exchange the refiner takes it 
as pure platinum, so that the difference between that and 
the iridium sheet, 10 per cent, 15 per cent, or 20 per cent, 
as the case may be, is a loss. With your own melting ap- 
paratus it is a good idea to put all your iridium scraps 
into wire, reserving the pure platinum for sheet. 

There are three platinum solders in use to-day, a hard, 
a medium and an easy running solder. The first two are 
used in pure platinum or platinum and iridium, the last, 
or easy solder, for repairing or soldering on extra finish- 
ing parts and for the nickel backed platinum. In using 
the others there is danger of melting the nickel, or of at 
least burning it or warping the article. 



HOW TO MAKE JEWELRY. 103 



CHAPTER XXV 



WORKING IN PLATINUM. 
Formerly Used as Diamond Setting, Demand is Growing for 
All-Platinum Jewelry— Soldering Gold and Platinum- 
Alloys for Hardening— Transferring Designs— Scroll and 
Mesh Work, Carving and Modeling— Lining Modeled 
Work— Plating with Platinum. 

PLATINUM when first used in the jewelry shops 
was employed only as a mounting or setting for 
diamonds, as the color of the metal being a pale 
shade of blue, harmonized well with the stone. A piece 
of platinum jewelry was stiffened by the addition of a 
backing, usually of 18-kt, gold, gold of lower quality 
(while sometimes used) is too hard and shows a seam 
that is hard to smooth out. Platinum will not expand or 
contract in heating, and the higher the karat quality of 
gold used the better the joining will be. 

During the last five or six years the demand has been 
increasing for all platinum jewelry, and this has caused 
a call for a stiffer or harder alloy. Iridium is used in va- 
rious proportions to make it harder, a 10 per cent, alloy 
being the most generally used, although for some work 
20 per cent of this metal is the proportion. All the fancy 
lace or mesh work is sawed out of the 10 per cent, qual- 
ity. Parts that are to be set are of pure platinum, while 
the knife edge wires, as stems for leaves, flowers, etc., 
spring parts for hair ornaments, and ring shanks are 
made out of a 20 per cent iridium alloy. 

To be a successful worker in platinum one must have 
some knowledge of drawing. The designer may furnish 
you with a tracing from the design, but in transferring it 
to the metal there are plenty of chances for mistakes. 
This, in a sense, is obviated by having the engraver lay it 



io 4 HOW TO MAKE JEWELRY. 

out for you, which, of course, is leaning too much on 
others. Better make an effort to do all this yourself. 
Get good tracing paper, "Vellum" and "Parchment A" 
are both good, and may be gotten from Favor, Ruhl Co., 
52 Park Place, New York. Place on your design and 
mark carefully, using a 3H Hardtmuth pencil. Some 
jewelers paste the tracing directly on the platinum, and 
others prefer to place a piece of carbon paper between 
and go over tracing with a 6H pencil, thus getting a car- 
bon drawing on the metal. The writer advocates the lat- 
ter method. In the case of fine lace or interwoven ef- 
fects, where fine hair lines of meshwork are used, the 
only sure way is to have it outlined for you by an en- 
graver, or learn to do this also yourself. 

Small leaf and scroll work are cut out of from 150 to 
170 points thickness of stock in the dial screw gauge, and 
mesh work out of about 80 points. Where a gold back 
is used the platinum is usually just a little thicker than 
the gold, so that in a leaf of 170 points we use about 100 
platinum and 70 gold. In making work requiring any 
carving or modeling, thicker stock of course must be 
used. In this case the work is carved and also hollowed 
out from the back and punched or dapped up ; the hol- 
lowed out parts being thinner will allow for modeling. 
Take, for instance, a horse. This is sawed out of about 
200 points, stock and after being filed up and the head, 
shoulder, barrel and flank indicated, the parts that are to 
show high from the front are now hollowed out from the 
back, using a pair of callipers or a spring gauge to avoid 
getting stock too thin, then placed on a lead block and 
punched up with assorted sizes of hardened ball punches. 

As a great deal of platinum jewelry is still being made 
with gold lining or backing, it will be interesting to the 
young worker to know how a gold lining is put inside a 
dog's head or a lizard or other animal, which is all plat- 
inum from the front and sides. The outline is first cut 
out usually from a brass pattern, then a bezel of fairly 
thick stock is bent up and soldered on, using the hardest 
platinum solder. Now cut up small pellets of gold and 



HOW TO MAKE JEWELRY. 105 



lay in carefully, charge on solder and well sweat. After 
boiling out in pickle smooth the surface with riffle files. 
These files are made out of shad belly needle files by 
heating the ends red hot, curving with round nosed pliers,- 
then heat again and harden in water. The temper may 
be drawn a little. Other good riffles are made out of 
flat, also round needle files. The turnover effect seen on 
large work, as lizards, is gotten by rounding the bezel, 
first filing off slanting the lower inside edge before sol- 
dering the bezel to the front. Another way is to saw out 
a back of gold, the outline of the front and dap it up 
well, solder on an extra plate for an inside edge after the 
''daylight" opening is sawed out. 

The skillful artisan on platinum, and indeed on fine 
hand-made gold jewelry, is a combination of designer, 
modeler, engraver, and' jeweler. In large shops where 
these various workmen are employed there is not the 
opportunity that obtains in some of the small "cockroach 
garrets" of New York, and some really fine jewelers are 
found in these small workrooms, earning big wages and 
held in high esteem by their employers. There are also 
foreign jewelers who come to New York. These have 
worked in Paris, London, Vienna, and other jewelry cen- 
ters, and some of them are very fine workmen. They 
are oftentimes very independent and shiftless, and are 
usually globe trotters. Those that do stick, however, are 
very valuable to their employers, as they bring new ideas 
with them that the American jeweler is quick to get on 

to. 

Platinum some twenty-five years ago sold at $6 an 
ounce, and is now bringing around $43 an ounce, but the 
price seems to have no deterrent effect to its use in con- 
nection with the making of fine jewelry. As a setting for 
a diamond it has no equal, for it is tenacious and lasting 
and enhances the tints of the stone. Gradually other 
stones came to be set in platinum, but outside of the sap- 
phire it is not considered good taste to wear them. Some- 
times in made over goods the large diamonds are re- 



io6 HOW TO MAKE JEWELRY. 



moved and rubies or other stones substituted. The ef- 
fect, however, is not pleasing. The dull or- frosted ef- 
fect on some goods is produced by the sand blast, using 
a fine flint. A good satin finish is also obtained by the 
steel scratch brush on a rapidly revolving lathe, holding 
a piece of thin steel against the ends of the brush so as 
to let the points strike an "end on" mark in the platinum. 

There is a loss of about 30 per cent in working plati- 
num, as against not over 5 per cent in gold work. Then 
again, it is hard to refine platinum and gold filings and to 
separate same. Where the scrap metal is sent to the re- 
finer for exchange or remelt, a charge of $1.50 an ounce 
is made. 

The price of platinum making that metal too expensive 
as a mounting for other than fine diamond work, there is 
a demand for 14-kt. jewelry with a platinum finish. Af- 
ter some experimenting it has been found that an alkaline 
platinum solution can be made that will deposit a fairly 
durable coating of the metal with the use of the electric 
current as in regular gilding. 

The following solution has been tried (among others) 
and is recommended : Take three dwts. of platinum, — 
the regular soft stock, not hard or iridium platinum, — 
roll as thin as possible, then cut in small pieces and twist 
and curl up as well as you can so that the acid can attack 
it readily; put in flask, pour over solution of three ounces 
muriatic acid C. P., and one ounce nitric acid C. P.. and 
place on sand bath. Platinum does not dissolve as easily 
as gold, but leave it on the sand until it does, being care- 
ful that the sand does not get too hot so as to run risk of 
breaking the flask and losing some of the platinum. 
If, after the acids have become heated there is no bub- 
bling or effervescence add a little more muriatic acid. 

Right here the writer cautions against using any but 
chemically pure acids put up in glass stoppered bottles at 
the chemical works. Certain supply houses have made it 
a practice of bottling from carboys ; the writer has been 
up against this to his sorrow. Always keep bottle stop- 
pered, closing up instantly after using; even then a gallon 



HOW TO MAKE JEWELRY. 107 

bottle of acid will get weak at the end and necessitate us- 
ing more in proportion. However, do not worry if plati- 
num does not dissolve in one or two hours, it sometimes 
takes ten or fifteen hours. 

When dissolved, let it evaporate to thick syrup, let it 
cool, add a half-pint of distilled water ; evaporate almost 
to dryness, then put in clean stoppered bottle and label it 
chloride of platinum, adding enough distilled water to 
make two liquid ounces. To make the bath take one 
ounce of the chloride and mix in a solution of one quart 
of water containing 25 dwts. of table salt ; stir well with 
glass rod, then add, drop by drop, a solution of one stick 
of caustic soda (by alcohol) in half -pint of water, until 
the solution turns red litmus paper blue. Bath is now 
ready to be put in tank for heating. Use platinum anode 
as a means of current connections only, as the only plati- 
num deposited is that in the solution and must be re- 
newed and made over as often as necessary. To get the 
best results an article should be polished, then scratch 
brushed, dipped in caustic soda or potash solution and 
hung in bath, using copper wire ; the current should be 
three or four volts ; after five to ten minutes remove and 
scratch brush, place it in again, take out, scratch brush 
and burnish with a bloodstone burnisher ; then give the 
article another dip of about ten minutes when it may be 
burnished again and soft rouged. If desired, the bur- 
nishing may be omitted, but the coating will of course not 
be as durable. 

In the case of a fancy chain composed of enamel orna- 
ments connected by platinum links, the gold edges, rings, 
etc., not covered by the enamel can be plated in the above 
bath, thus giving an all platinum and enamel effect to the 
chain. Articles with smooth surfaces like lockets, handy 
pins, belt and bar pins, where the burnisher can be used 
to advantage, present a rich and lasting finish after the 
rouging. 



io8 HOW TO MAKE JEWELRY. 



CHAPTER XXVI. 



WORKING IN PLATINUM (CONTINUED). 
Skilled Labor and Waste of Material Make Platinum Orna- 
ments Expensive — Some Designs That May be Made and 
Marketed at Low Cost — How to Reduce Shop Cost to a 
Minimum. 

THE most expensive platinum jewelry is sawn out 
of one piece ; bezels, gallery, and the connections 
on the back, of course, excepted. Where there is 
a lot of detail, mesh effect, veining, lines, etc., this is nec- 
essary. It makes a fine piece of work, but is high priced, 
the nature and construction of the article calling for 
skilled artistic labor as well as considerable loss in metal. 
It is estimated that there is fully thirty per cent loss in 
platinum filings, and jewelers making fine platinum work 
get big wages as compared with the average man working 
in a gold factory. 

The great popularity of platinum and the subsequent 
decline of the sale of fine gold jewelry has prompted the 
better class of gold manufacturers to make a low priced 
line of platinum goods using similar methods in the pro- 
duction as obtain in the gold line. The finest shops in 
New York have no machinery or presses. Outside of a 
couple of pairs of rolls and two or three drill lathes the 
equipment is all hand labor. One maker on Fifth avenue 
uses in his work several thousand small leaves for 
wreaths, sprays, etc., in a year, all hand made. A small 
foot press would cut these out at a trifling expense and 
more accurately, to say nothing of the clean scrap left. 
This man knows all this, but will not entertain any ma- 
chine proposition. On the other hand, the gold shops be- 
ing equipped with all labor saving devices employ them 



HO W TO MAKE JEWELRY. 



109 




in making platinum goods. Their jewelers are trained 
to make work at a price, hence a comparatively popular 
priced line of platinum jewelry can be made. 

The writer remembers one case in point. A New York 
house made a platinum horse mounting and charged a 
price double that of a Newark gold concern who had a 
line of horse dies out of which they had raised quantities 
of gold goods. With the die a horse was raised in a few 
minutes. The hand mounting taking something like nf- 



I IO 



HOW TO MAKE JEWELRY. 




teen hours to make. In spite of this fact, the New York 
maker will keep on making and selling hand mountings. 
The illustrations shown herewith are original designs, 
which can be made of plate and wire. The plate or flat 
stock may be made as thin as 120 points in the dial screw 
gauge, and the wire is at least 10 per cent iridium (15 or 
20 per cent is better, stirrer), and is drawn down round 



HOW TO MAKE JEWELRY. 



in 



and rolled flat. The collets, tubes, or hollow wire for the 
diamonds may be bought ready made or cut off from 
lengths of seamless tubing. 

The pearls in Fig. I are connected by eyes bent on ends 
of wire passing through pearl and closed tightly. The 
large ornament is sawn out of one piece leaving it slightly 
thicker at lower curves until after the center wires are 
soldered in. The ornaments connecting the ends of fes- 
toon are hent of wire and the end piece for the stone 
carefully let in. Fig. 2 shows a simple and effective La 
Yalliere, and can he easily made by a good jeweler. 

Fig. 3 is a frame of scrolls and leaves first soldered 
together and the center applied. The half-circles are 
simply rings cut in two and the leaves and flower can be 
cut out in almost any jewelry shop where they make flow- 
er work and have cutters. Fig. 4 shows a "spready" pend- 
ant. The opal may be set by a few beads or an 18-karat 
bezel carefully let in the platinum cluster. 



Ft&s 3 



"^mlmmm 



vqffT' 



Making platinum jewelry in this manner, the gold shops 
are enabled to place on the market fine diamond work 
that stands up well and the low cost will make the sale. 
The maker is getting the use of his tools, dies, etc., and 
his men get the work. These low priced platinum lines, 
to still further reduce cost of labor, are also gotten out in 
gold, set with pearls, etc., and where a man makes a 



112 



HOW TO MAKE JEWELRY. 




dozen or more pieces of same pattern the labor is reduced 
to a minimum as compared with that of getting out one 
piece only of a design. 



HOW TO MAKE JEWELRY. 113 



CHAPTER XXVII 



RECOVERY OF GOLD AND SILVER FROM SCRAP. 
Melting the Refinings— Most Satisfactory Method of Re- 
melting to Secure Fine Gold — Small Quantities Imprac- 
tical — Separating Silver and Gold — Metalizing Silver — 
Not Advisable to Do Sweep Smelting in Factory — Re- 
covery of Gold and Silver from Old Solutions. 

COLLECT the bench filings, old gold, solder scraps, 
in fact, everything that is not clean scrap of 
known karat quality, and spread out well in a pa- 
per on a bench. Take a magnet of good size and strength 
(if you have an old-timer and pretty weak, it will pay 
you to throw it away and get a new one), and go through 
thoroughly. The iron wire, scales from files, etc., that 
will adhere to the magnet will also have some gold dust 
clinging, so after gently tapping the magnet to loosen as 
much as possible of the gold, the iron is brushed into a 
can or iron box for further treatment. 

Now take the refinings, and, after picking out the 
larger pieces of scrap, place the dust in a large iron fry- 
ing pan and burn over your gas furnace, placing a piece 
of sheet iron over as a cover to prevent any of the dust 
from blowing away; upon cooling put all your gold for 
refining in a scales, weigh, and add an equal amount of 
flux. Now put it in a crucible, a safety crucible is cheap- 
est in the long run, and should be previously warmed; 
do not fill up nearer than two inches from the top, and 
place in furnace ; as the mass gets heated it will rise ; 
when it threatens to spill over, throw in a little table 
salt which causes it to settle again. After the mass has 
ceased to rise, and, in fact, is gradually settling lower in 
the crucible, it should be left in furnace for at least an 
hour and a quarter for a two-pound melt (one pound 
lemel refinings, and one pound flux). 



ii4 HQW TO MAKE JEWELRY. 

Now lift out of furnace, after turning off gas and al- 
lowing to cool a little, and place away to cool. Do not 
break the crucible until you are sure the mass is solid, 
then smash and break off the slag and a button of gold 
will be found ready for refining. The writer knows of 
jewelers who at this stage remelt the button in the regu- 
lar black lead crucible, and, after pouring in wire or flat 
ingot as case may be, roll out and cut a piece out of cen- 
tre, test it to get karat quality, and then add gold or al- 
loy to raise or lower to karat desired. This method is 
not advocated, as it is more or less guess work, and the 
resultant alloy is not always the same, sometimes paler 
or redder, and so on. The button usually is from one- 
half to one karat finer than before melting, so that in a 
factory making 10-kt. jewelry it should be from io^-kts. 
to n-kts., and sometimes better still; in a shop making 
14-kt. and better, it should be anywhere from 14^ kts. 
.to 16-kts. fine. The reason for this is that the Guinea 
alloy and some of the copper also is burnt out with the 
lead, traces of iron, brass and other metals, so that we 
only have the fine gold and silver to get out of the button, 
the small amount of copper remaining not being worth 
considering in the calculations. We will presume we 
have a button of 15-kt. gold, weighing 400 dwts., and 
right here would say that, unless for special reasons, 
would not advise refining less than 500 dwts. of 10-kt. or 
11-kt., or 350 to 400 dwts. of 14-kt. quality. It is just as 
cheap and as easy to refine 1,000 or 1,200 dwts. as less. 

The writer has found it good practice to run down a 
button of around 300 dwts. and place it away until he gets 
four buttons of about the same weight. We now take 
our 400-dwt. button of 15-kt. quality and figure out how 
much fine gold we have in the button. Knowing that 
15-kt. is Jf or y% fine gold we simply take y of 400, and 
250 dwts. of fine gold is the result, the remaining ^ 
or 150 dwts, being the silver. Fine gold is best recov- 
ered from silver in the proportion of 3 of silver to 1 of 
gold, so that to the button we add 600 dwts. of silver, 
this with the 150 dwts. already in the button making 750 



HOW TO- MAKE JEWELRY. 115 

dwts. of silver to 250 dwts. of fine gold. As a matter of 
facty it is actually a little less, as some of the 150 dwts. is 
copper, but, as we said before, not enough to bother 
about. Now having gotten our proportions right we re- 
melt all in a black lead crucible (no fluxes at all), and 
when thoroughly mixed pour into a large pan or tub, 
iron, copper or porcelain, full of water and rapidly 
stirred with a broom handle by an assistant. The higher 
the crucible is held from the water the better the granu- 
lation (my melter stands on a stool). If the melting and 
subsequent pouring is properly carried out the receptacle 
will contain a spongy mass, in which the gold will be seen 
streaked in the silver. Now pour off water, turn the 
residue into a porcelain evaporating dish or bowl, and 
place on a sand bath in a forge or under a chimney or 
flue, with a good draft to carry off the acid fumes. The 
writer uses a specially prepared "parting acid" supplied 
by manufacturing chemists. Add the acid carefully, as 
too much on the start will cause a violent action and some 
of the gold is apt to be spilled over and lost. 

The gold will now be separated from the silver and 
thrown down, looking like brown mud in the bottom of 
the dish. Keep pouring off the dead acid, which will 
contain the silver, into a large crock, or equally divide it 
in a number of crocks if the melt is large ; about four 
crocks for 1,200 to 1.500 dwts. of silver. When the 
acid ceases to bubble or effervesce, and shows no action 
after stirring with a glass rod, pour off carefully and 
add fresh acid; keep stirring at intervals with the glass 
rod, as the silver forms a dense nitrate and prevents the 
acid from working. As the silver is finally dissolved in 
the acid, and the gold is all precipitated, wash thoroughly 
with hot water, then add a pickle of sulphuric acid and 
water in proportion of one part acid and nine parts water ; 
place on sand bath again and let it thoroughly clean the 
gold. 

If the above directions are carefully followed you 
should have, after the pickle has been poured off and 
the gold washed and dried, a rich, clean, golden brown 



n6 HOW TO MAKE JEWELRY. 



powder which, when shoveled carefully into a crucible 
and melted, will result in a bar of pure 24- kt. gold, ready 
to be alloyed to whatever karat is desired. No flux is 
used in the melting of the fine gold, and, while it may be 
granulated if desired, the writer finds it more practical 
to cast it into the bar ingot and roll down to about the 
thickness of a ten-cent piece, cutting into squares for al- 
loying. 

To recover the silver, add a large lot of water to your 
crock or crocks, stir well, throw in four or five cupfuls 
of salt, and let it stand over night ; next day take a test- 
ing glass, procured at any chemical supply house, put in 
some of the liquid and add a solution of salt and water; 
if no white powder (chloride of silver) settles, it shows 
that the silver is all in bottom of crock. An excess of 
salt will do no harm. Now pour off the liquid and put 
the silver into a large wash basin; wash well with sev- 
eral changes of hot, and, finally, one of cold water; mix 
a solution of sulphuric acid and water as before, and 
cover over the silver, then drop in a few pieces of scrap 
sheet iron and let it stand a couple of days, mixing occa- 
sionally. This is called metalizing the silver, and is nec- 
essary, for if the silver were placed in a crucible after 
precipitation by the salt, by reason of the finely divided 
state it is in, it would go through the crucible and also 
evaporate and be lost. 

When the silver is almost black all through, it is again 
well washed, dried, and mixed with about one-quarter 
its weight with the same flux used in the refining of the 
button, placed in a large sand crucible (previously 
warmed) and melted as a button. Cool, break and re- 
cover the button, then remelt, granulate or cast in bar 
form as desired, and pure, bright, clean silver should re- 
sult. There are other methods of metalizing, such as 
zinc, caustic potash and sugar, hanging in pieces of cop- 
per in the crocks, etc., but the writer has found the iron 
treatment, after all the silver has been thrown down by 
the salt, as the most practical and expedient. 

A sand bath can be readily made out of sheet iron ; 



HOW TO MAKE JEWELRY. 117 



one about eighteen inches square and about three inches 
deep will be large enough for all operations ; rivet four 
strips on for legs, fill with cheap sand, and place over 
an ordinary hot plate gas burner. 

Some manufacturers, working in a small way, whom 
the writer has been connected with, send their buttons to 
the United States Assay Office, receiving therefrom a 
check for the gold and silver recovered, less charge for 
refining, or if preferred, the fine gold in brick form, and 
a check for the silver. The only reason I have been able 
to find for doing this is a lack of technical knowledge, as 
the assay office does not refine at a loss, and, further- 
more, there is often an interval of two weeks before a 
report is made. Even the small manufacturer has an 
equipment for melting, with a man who can be trained 
in the handling of the acids, washing out, etc., and the 
extra expense of a carboy or parting acid with a few 
safety crucibles is trivial. The writer has collected the 
lemel, run into a button, granulated, refined, melted, and 
gotten the fine gold (as high as 900 dwts.) in less than 
two days, all ready for alloying over again. The silver 
of course may be recovered at your convenience in time 
for the next refining. 

In the matter of attempting to get the gold and silver 
from the polishing room sweepings, hand washings, rins- 
ings, etc., the writer advises allowing sweep smelters and 
refiners to come in and bid on the work, as the cost of a 
sweep reduction furnace, and the time spent in reducing 
large bulk for the little percentage of gold is too great 
to be maintained in single factories. 

A point well worth keeping in mind is, that in a fac- 
tory where precious metals are being handled, no waste 
should be thrown out; all paper, rags, old aprons and 
other inflammable material should be burned in a large 
iron pot in the forge, and the ashes deposited in a bin or 
other metal can or box ; old crucibles should also be 
saved, no matter how clean they may look; the writer 
once got 50 dwts. of 14-kt. gold out of an apparently 
clean lot of old broken crucibles that had lain in a box 



n8 HOW TO MAKE JEWELRY. 

probably for years, and through carelessness in charging 
the melts to the melter and reweighing after melting, had 
been lost sight of. 

To recover the gold and silver from old cyanide solu- 
tions, put all together in one large crock; then get some 
pieces of zinc, say three or four ounces, roll them out thin, 
scrape clean and bright and coil or twist it up well, then 
drop in the crock; stir occasionally during the day, letting 
it remain over night, when gold will all be deposited on 
the zinc. The liquid may now be poured off through the 
regular rinsing and the zinc well washed with clean wa- 
ter; now make a solution of commercial sulphuric acid 
one part and water nine parts, about a pint in all, and 
pour over the zinc, which has been placed in an evaporat- 
ing bowl ; in a short time the zinc will all be taken up in 
the solution and the gold, silver, copper, etc., will be pre- 
cipitated as a muddy sediment ; this is well washed, dried 
and mixed in with filings and other scraps for refining. 

After recovering the fine gold from the refmings and 
you wish to test the gold to see whether there is still any 
trace of silver left, take a few pennyweights, dissolve in 
two parts muriatic and one part nitric acids and when 
the silver, if any, will be precipitated as a powder in bot- 
tom of flask. The gold may be recovered by largely di- 
luting with water and throwing in a handful of sulphate 
of iron (copperas); this will throw down the gold, 
when it may be washed, dried and melted, as a button 
of pure gold. Zinc will recover gold from all cyanide 
solutions, and sulphate of iron from all acid ones. 



HOW TO MAKE JEWELRY. 119 



CHAPTER XXVIII. 



REFINING POLISHING SWEEPS. 
Use of the Magnet — Separating the Silver — Recovering 
Platinum — Precipitating the Gold — Metals Recovered are 
Commercially Pure — Use Caution in All Work With 
Acids. 

THE refining of filings and polishing sweeps is not a 
difficult operation, but to obtain the proper re- 
sults it requires careful and close attention. The 
average shop can get out nearly the whole value if these 
details are followed: 

Spread out filings on a large piece of paper and go 
through carefully with a pair of tweezers to get any solid 
pieces of gold or platinum, then sift well through a strong 
steel magnet. Speaking of magnets, see that there is 
plenty of strength, do not use an old one that may have 
been in factory a number of years and be played out. 
Having gotten a good one, always keep a piece of steel on 
the two ends to keep the magnetism from running out. 
In passing the magnet through small atoms of gold and 
platinum will adhere to the iron or steel filings. These 
may be put into an old pickle crock (sulphuric acid and 
water), which will eat the iron or steel and precipitate 
the precious metals. When a sufficient quantity is recov- 
ered these filings are placed with the others for separat- 
ing. If a lot of oily waste, buffs, etc., are in the stuff to 
be refined, the mass should be put into an iron pot or 
large iron frying pan and burned out over a gas plate be- 
fore putting magnet through. 

After separation place in a large evaporating porcelain 
dish, and to every ounce of filings add 3 ounces of chem- 
ically pure muriatic acid and 1 ounce of nitric acid. 
While any quantity of filings may be treated, yet it hardly 



i2o HO W TO MAKE JEWELRY. 

pays to put less than 20 ounces through at a time. If 
filings are largely gold, the acids, which are previously 
mixed in the proper proportions, should be added slowly 
and a little at a time or a rapid action would result in the 
mixture rising and spilling over the edge, thereby losing 
some of the metals. The dish should be placed on a sand 
bath over a gas plate burner and should be kept hot. A 
glass funnel may be placed over dish to prevent loss. 
When all is dissolved, which may be ascertained by stir- 
ring with a glass rod, turn off gas and let cool. Then 
pour into large crock in which are ten or fifteen quarts 
of rain or distilled water or water which has been boiled 
and cooled. Let stand a few hours, or until next day, 
and a precipitate will be found on bottom of crock. This 
is chloride of silver. 

Carefully siphon liquid into another crock, or pass 
through a funnel with filtering paper to recover any par- 
ticles of silver which may 'be still in the liquid ; mix up 
about 20 ounces (for 20 ounces of refinings) of fresh 
powdered sal ammoniac in a little water, pour in liquid 
and stir well. In a few hours the platinum will be found 
on the bottom of the crock. The liquid is siphoned off 
into a fresh clean crock, filtered to recover any further 
traces of platinum and with the precipitate well dried 
and subsequently melted in the regular furnace. 

The gold is recovered from the liquid by adding about 
an equal bulk of water and dissolving about 20 ounces 
of sulphate of iron (green copperas) in a little water, 
add and stir thoroughly. Let stand for a few hours, 
pour or siphon off liquid and the gold will be found de- 
posited in bottom of crock in the form of a muddy brown 
sediment. This is collected, dried and melted in regular 
crucible. The liquid will contain traces of all the metals 
also the copper used in alloying, so should be poured into 
sink for further recovery by the refiner. The metals re- 
covered this way are not chemically pure, only commer- 
cially so, and are used in the general run of jewelry man- 
ufacturing. It is safe to assume that in the melting of 
the platinum all traces of silver, copper, etc., are de- 



HOW TO MAKE JEWELRY. 121 

stroyed as the high temperature would cause these met- 
als to volatilize so that only probable metal remaining 
would be iridium. Sometimes this metal is not dissolved 
and is thrown down with the silver. To separate, dis- 
solve the silver in nitric acid only, dilute well with water 
and hang in a few pieces of copper^ old boiling out pans 
will do, and in a day or two the silver will be thrown 
down when it may be dried and melted with a little bo- 
rax. The iridium, trace of platinum, etc., not being at- 
tacked and dissolved by the nitric acid are recovered 
from bottom of crock and melted. 

If all details are carefully carried out, the average 
shop can get out its own filings. In mixing and adding 
filings to acids in the first operation, the acids must be 
well heated before action, especially on platinum, takes 
place. The acids may be put in dish first, well heated 
and the filings sifted in, a little at a time, stirring well 
with a glass rod, so that metals are constantly exposed to 
the acid. The amounts of sal ammoniac and copperas 
(20 ounces each) are for about a like weight of the met- 
als and should of course be reduced or increased in pro- 
portion. All work with acids should be done in a sepa- 
rate room or where there is large chimney to carry off 
fumes. 

Some refiners use oxalic acid in place of the sal am- 
moniac; results are the same. To be sure of getting 
strength it is best to buy sal ammoniac in lump form and 
pulverize it in mortar as required. 



122 



HOW TO MAKE JEWELRY. 



CHAPTER XXIX. 



FILTRATION OF WASHINGS. 
The Filter Press, Cloth Screens and Excelsior Packing— A 
Practical and Economical System — The Use of Cop- 
peras—Lead Cylinders in Place of Tile for Enameling 
Shops — A Reckless Habit — Recovery from Solutions. 

SINKS and tanks, barrels or other apparatus for 
washing purposes, and the subsequent recovery 
of the precious metals naturally engage the atten- 
tion of jewelry workers. There are a number of methods 
in work to-day, including the filter press — a system of 
pumping the water through a series of convas bags, 
pressed together to exclude the water, after which the 
bags are opened and the residue removed for refining. 
Another means is that in which a large tank is fitted with 
a number of cheese cloth screens to catch all particles 
as the water slowly passes through; still another way 
consists of packing the bottoms of the tanks or barrels 
with excelsior, keeping the feed pipes near the bottom 
of each so that the fluid is filtered through. 

The drawing shown herewith, whereby three kero- 
sene or oil barrels (whiskey barrels will also do), are 




Sink for Filtering Washings. 



HOW TO MAKE JEWELRY. 123 



fitted with ordinary. drain tile pipes in which the water 
washings pass through lead pipes from the sink at A, 
and into the sewer at B is, while not a new idea, as 
good as any method, is practical and economical. 

It is well known that nearly all the gold and silver 
passes into the sink in the form of filings, or very fine 
particles. Now these are mixed with soap, grease, etc., 
and are too light to sink, consequently, unless forced to 
the bottom of each barrel they float on the surface, 
passing from barrel to barrel and are eventually lost. 
Now all particles being mixed with the water and acid 
and having gained a pressure downward will nearly 
always stay at the bottom, it being more difficult for a 
particle, no matter how light to rise than to fall. 

No sawdust, sand or other like matter should ever be 
put in sinks. Sulphate of iron (copperas), should be 
put in the barrels from time to time, or a small bunch 
of binding wire (iron) will do. The reason for this 
is that in case gold or silver solutions are poured in 
the sink, either by accident or otherwise, the iron will 
take up the acid and precipitate the precious metal. 
Then again there may be particles of gold, or even large 
pieces left in the sink and gradually washed into the 
barrel, and at different times, nitric, muriatic or sulphur- 
ic acids poured in, having a tendency to form aqua regia 
and dissolve the gold or in case of nitric acid, the sil- 
ver. If the iron were not present, this would all pass 
into the sewer in solution. 

In an enameling plant lead cylinders should be used 
instead of the drain tiles as . the hydrofluoric acid used 
in etching the enamel would also dissolve the tiles. 

Now it is a reckless and foolish habit some jewelers 
have of pouring all old solutions containing gold and 
silver into the sink, then allowing a few gallons of water 
to run in to "thin it out." By reason of the sudden in- 
flux some of the. solution is bound to be, forced through 
before the iron has a chance. All cyanide solutions 
.should be poured into a large crock, acid solutions in 
another and at suitable periods the metals therein re- 



i2 4 HOW TO MAKE JEWELRY. 

covered as described in other chapters. Those jew- 
elers doing business in localities not having sewer con- 
nection may recover everything by allowing the waste 
waters to run into a "soak away" or cistern without a 
bottom. 

A good sink is also made by connecting each barrel 
with lead piping about a foot from the bottom and 
having the last discharge pipe near the top of the bar- 
rel. It should be mentioned that in the case of the filter 
press the liquor is first neutralized by mixing lime and 
water and adding before starting the pump. Alum in 
powdered form is also added if the washings do not 
clean up sufficiently for filtering. 



HOW TO MAKE JEWELRY. 125 



CHAPTER XXX. 



TESTING FOR PURE GOLD. 
Acid Testing Solution — Dissolution and Evaporation of the 
Metal — Elimination of Silver a Bug-a-Boo — Precipitating 
the Platinum by Sal Ammoniac — For Chemically Pure 
Gold — Process Used at United States Mints. 

A SOLUTION of 1 ounce of C. P. nitric acid and 
4 drams of muriatic acid will turn 22-karat gold 
a dirty yellow, 20-karat gold, brown, and 18- 
karat, or lower, black. This testing acid should be kept 
in a glass stoppered bottle. The only safe and reliable 
test for 24-karat or pure gold, is to roll the metal as thin 
as possible, cut into little squares, crinkle it well, so that 
the acid will attack it easily, and place in a long-necked 
German flask. 

Get the weight of the gold to be tested and to every 
ounce of the metal add 6 ounces of C. P. nitric acid and 
muriatic acid mixed in the proportions of 2 ounces nitric 
to 4 of muriatic. To hasten the action of the acid, place 
the flask on a sand bath over a gas heater out of doors, 
or in a forge where the poisonous vapors are carried off. 
An ordinary porcelain dish will answer for the dissolving 
and subsequent evaporating, but the long-necked flask is 
more conveniently handled and the risk of foreign mat- 
ter getting in the solution is greatly lessened. 

In a short time the gold will all be dissolved, the lead, 
tin, copper, and other baser metals will be destroyed, 
while the silver, if any, will be found in the bottom as a 
white, pasty mass. The elimination of the silver in the 
refining is the bug-a-boo that the jeweler has to look out 
for, as in the reduction of the lemel (bench filings, scraps, 
old gold, etc.) silver is largely used, as explained in pre- 
ceding chapters. 



i26 HOW TO MAKE JEWELR Y. 

To resume, the liquid, after cooling, is poured off care- 
fully, — leaving the silver chloride in the bottom of dish 
for further treatment for remelting, — then placed again 
on the sand bath and evaporated almost to dryness ; let it 
cool and add several times its bulk of clean, cold water. 
If you have three or four ounces of pure gold in work, 
the solution should be poured into a large crock with a 
capacity of from four to five gallons. Better have an ex- 
cess of water, as the acid is thinned out more. A little 
caustic soda or potash may now be added, to further 
weaken or kill the acid and render the task of precipitat- 
ing the gold much easier. 

To precipitate the gold from the solution a couple of 
handfuls of sulphate of iron is thrown in; stir well with 
a glass rod, let stand for a few hours, and the gold will 
be found on the bottom of the vessel as a dark brown 
mass. If you have reason to believe that there is plati- 
num in the gold, a strong solution of sal ammoniac should 
be stirred in before the gold is thrown down with the 
iron. The sal ammoniac will precipitate the platinum 
and of course the gold solution is poured into another 
vessel before using the sulphate of iron. The gold mass 
should be washed several times with hot water and finally 
with cold, and then treated to a bath of i part sulphuric 
acid in 9 parts of water, again well washed and dried. 
The gold should now present a rich golden brown color 
of about the fineness of flour of emery and should con- 
tain no lumps. Place in a crucible and remelt and a but- 
ton of pure gold will result. 

It would hardly pay to put a few pennyweights of pure 
gold to the foregoing test, and sometimes gold that is in 
doubt as to its being absolutely 24-karat is scraped a lit- 
tle and touched with a glass stopper which has been kept 
in a bottle containing a testing acid of 4 drams of C. P. 
nitric acid to 8 drams of C. P. muriatic. The presence 
of silver is detected by a whitish spot showing, which is 
soon turned black under the action of the sulphur in the 
air. The presence of silver cannot be easily seen in a 



HOW TQ.MAKE JEWELRY. 127 

small surface, however, as the amount is almost infini- 
tesimally small. 

To get chemically pure gold of an average purity of 
999.96 parts of gold per 1,000, the fine gold is dissolved 
as above, excess of acid driven off and alcohol and po- 
tassium chloride, or sal ammoniac, added to precipitate 
traces of platinum. The chloride of gold is then diluted 
with distilled water in the proportion of half an ounce to 
the gallon, when the solution is allowed to stand three 
weeks. Syphon off carefully and add oxalic acid in crys- 
tals from time to time, until the solution is colorless, the 
precipitation of the gold toward the end being aided by 
a gentle heat. The gold is now in a spongy mass, and is 
well washed repeatedly with C. P. muriatic acid, distilled 
water, ammonia water, and lastly with distilled water. 
It is then melted in a crucible with a little pure bisul- 
phate of potash and borax, and poured in a stone 
mould. 

The process now in use in most of the mints in the 
United States for producing pure gold, is called the 
Wohlwill process and is an electrolytic one. Briefly de- 
scribed, ordinary 24-karat fine gold is used as cathode 
and anode, and these are suspended in a solution in which 
a quantity of free muriatic acid is contained. Gold is also 
dissolved in aqua regia (as already explained) and the 
chloride added to the bath. When in action the gold is 
dissolved from the anode and is deposited on the cathode 
in a spongy mass. The silver is converted into a chloride 
and either remains upon the anode as a slime or sinks as 
a sediment. Iridium and platinum do not dissolve. All 
other metals pass into the solution, and, always -providing 
there is free muriatic acid, never deposit with the gold. 
The gold averages 999.8 and higher. 

These last two processes, while very interesting and 
instructive, are not practical for the average manufactur- 
ing jeweler, and if he follow the comparatively simple in- 
structions given in the first formula he will get a fine gold 
that will stand any stamping law test. 



i28 HO W TO MAKE JEWELRY. 



CHAPTER XXXI. 



KEEPING TRACK OF GOLD. 

Much Petty Pilfering May be Prevented by Proper Methods 
in Giving Out Stock — The Average Shop Force is Cos- 
mopolitan — Temptations are Numerous — Old Time Meth- 
ods — Factory System Necessary and Welcomed by 
Honest Workmen. 

AT quite regular intervals we read of the arrest and 
conviction of an employee pr employees of jew- 
elry factories for stealing gold, silver, or other 

precious metals. In the writer's opinion, a lot of this 
petty pilfering, often running into large amounts in the 
course of years, could be prevented if proper methods 
were used in charging work to the men and in keeping 
track of the same. 

One large house which the writer was with several 
years ago, used to hand a man a bar of gold or silver 
telling him to cut off what he wanted, and no record 
was kept of it. This was all very well at the start, as in 
the early years of this firm's existence they had a 
small, sort of "family," force of employees, every one 
known to the other and all honorable. As time rolled on 
the business grew, until ten, then twenty times the num- 
ber of the original workmen were employed. Gold be- 
gan to be missed, also silver, and eventually one of the 
very first men hired was convicted of theft. 

This firm used to maintain that they wished to put men 
on their honor. This is a very pretty sentiment, and 
might do in isolated instances or under certain condi- 
tions. The plain facts are these : Jewelers are recruited 
from all over the world. They come here oftentimes 
largely imbued with the idea that this country owes them 
a living, or if born here, may nurse a real or fancied 



HOW TO MAKE JEWELRY. 129 

grievance against the foreman or the firm ; some one fig- 
ures it out that he is not getting as high a wage as he 
ought, and proceeds to make up the difference in the 
most convenient way. 

An apprentice boy running errands gets wise to slip- 
shod methods in the stockroom and filches occasionally. 
The melter abstracts a few pieces of fine gold from the 
alloy given to him to melt. Some workmen slyly take a 
piece of plate, or wire from their neighbor's bench, or 
hang around until the rest have gone and clean out a few 
filings or cups. The press hand fails at times to turn in 
all of his "scrap" and a slice may be clipped off the gild- 
ing anode now and then. A number of men start all right 
but temptation constantly being in their way, some of 
them are bound to fall. 

The indiscriminate handing out of raw material to 
men tends to give them a low estimate as to the value of 
the metal, or at least invites carelessness in keeping track 
of it. As a rule, a man will cut off more stock than he 
actually needs for the job in hand, to allow for possible 
mistakes or accidents in rolling or drawing, etc. If he 
loses some of it he figures that the man who sweeps up 
will find it all right. 

Another old-time method which I think is becoming 
obsolete is the shot system, in which lead or copper shot 
are balanced on the scales with the work and put into bot- 
tles labeled with the men's names. This way is not ac- 
curate enough; the bottles get mixed or in some way or 
other the shot gets put into the wrong bottle, and so on. 
Another bad habit is the letting of one workman get a 
piece of stock from another, without first crediting it off 
and charging it to the last man. Sometimes a man will 
go ahead and finish his job and then tell you he got ma- 
terial from so and so to finish with. 

A newly prepared alloy of gold going to the melter 
should be weighed as soon as it comes from the ingot 
and before rolling, not because of any doubt as to the 
man's honesty, but simply as a part of factory system in 
keeping track of the metal. Shots may be left in the 



i 3 o HOW TO MAKE JEWELRY. 

crucible, sometimes amounting to several pennyweights, 
or they may be spilled over in pouring. The gold should 
also be tested at times to see if karat fineness is up to 
standard. The writer has known of some of the brass 
weights getting into the alloy by mistake, and in the mat- 
ter previously mentioned, it was the poor acid color fin- 
ish that gave the clue which finally pointed to the melter 
as taking fine gold, thereby producing an alloy lower 
than 14-karat. 

As fine gold or silver is bought from the assay office, 
bank, or refiner, it should be charged to the factory, and 
the man who does the alloying should be advised that it is 
pretty much up to him to see that the gold account bal- 
ances each month. The scales should be tested each day, 
must be kept clean and under a glass case. The stock 
should be weighed, using weights, and should balance to 
a grain. Record is kept in a book, and should be done 
by one person. About three per cent is a reasonable 
amount to allow for loss in gold and silver, although in 
the case of mountings, cluster work, etc., ten per cent or 
more is not out of the way. 

It is a good plan to balance up each man's box every 
week. This can be done without interfering with his 
work, if the men are notified that at the most convenient 
time for them during that day, their boxes will be bal- 
anced. All honorable workmen will heartily endorse a 
system which keeps track of the precious metals. Many 
of them have at times had the unpleasant experience of 
being under suspicion. 

As a rule the men will get together and help hunt out 
the thief for their own good. The careful weighing of 
stock, entering up and crediting orlf, may take a few mo- 
ments longer, possibly resulting in the customer taking 
a later boat for Europe or Patagonia (factory men will 
recognize this threadbare dock joke), but in the long run 
the firm will be the gainers and a better class of men will 
be employed. The crooks usually go where the picking 
is the easiest. 



HO IV TO MAKE JEWELRY. 131 



9 
CHAPTER XXXII. 



FIGURING SHOP COST. 
From Design to Sample Case — Details of Pin-Making Cost — 
Percentage for Shop Expense is Sometimes Too Low — 
Marking the Selling Price — Make Durable Articles — 
Thin Goods Unprofitable — Weighing for Metal. 

A DESIGN having been approved by the members 
of the firm, it is submitted to the salesmen for 
their approval or condemnation. In the event 
of favorable decisions and an estimate of total amount of 
first sales a sample or pattern is usually made by hand. 
This sample is sometimes shown to certain customers, and 
their opinions asked for as to whether it will likely be 
a seller, etc., also for any criticisms as to construction 
or ideas in the design. Customers often give valuable 
suggestions as to getting up the article so as to compete 
in price with similar patterns. It having been finally 
fully approved, the sample is placed in the diemaker's 
hands and eventually reaches the toolmaker for the nec- 
essary cutters. When all dies and tools are made, an or- 
der is given to the raiser or stamper to get out a quan- 
tity: In first-class 14-karat factories fifty is usually 
the number of first lot. After raising in the die the goods 
are passed to the toolmaker, who puts them through the 
cutters for trimming, thence to the jeweler, enameler, 
polisher, finisher, and so on, to the carding room. 

It having been asked as to how the large manufactur- 
ers figure costs of making new goods, the writer gives 
here the system employed, with slight variations, by the 
leading makers of fine and 10-karat jewelry. A pattern 
book is used in which spaces are marked off. We will 
presume a pin is in process of making. The design is 
drawn very carefully in the book ; a tracing may be made 



i 3 2 HOW TO MAKE JEWELRY. 

of the original design and transferred to the book. In all 
events be sure that the drawing will be exactly the same 
size as the finished article is to be. This will save a lot 
of subsequent trouble and annoyance, especially in the 
case of lockets or bib pins, or anything where the differ- 
ent sizes run close. On the right hand side of the design 
write Gold=3.20 and in column form add — Raisings. 10 
Makings. 60, Enameling .30, Polishing .10 and Coloring 
.10, making joint and catch .03 (or patent catch if 
used), setting .90, half-pearls 1.20, finishing .20. To 
these figures from 15% to 20% of the total is added 
for shop expenses. 

In small shops, where the non-producing force is small, 
the foreman doing the melting and raising, and in some 
cases helping out in other departments, 10% for shop ex- 
penses is put on. This is an unwise procedure as all 
shops figure on growing, and as they expand goods fig- 
ured on the 10% basis are being made at small profit if 
any. The larger the factory the bigger the clerical force 
and tool room ; consequently an increased percentage is 
needed to cover the expenses. The foregoing figures, of 
course, are merely given as an example. The total is 
6.73 ; add 20% and we get 8.08. One manufacturer, in 
addition to this, puts on one-third of the cost of enamel- 
ing to cover the repairs, chipping, maintaining the enamel 
room, etc., so that the enameling would be 40 cents in- 
stead of 30. 

Always make a note of how many pins you are figuring 
the cost of, that is, how many were made in one lot the 
first time. Under the design, mark the die numbers (all 
dies should be punched), cutters, thickness of and kind 
of stock used. In a convenient space mark the number 
and sizes of half-pearls first used in the pin. All these 
tips will be better understood and appreciated when you 
have made a couple of hundred new patterns, and six 
months or more may elapse before you get a duplicate 
order. A glance at your book gives you all the details. 

After the goods leave the factory and are in the office 



HOW TO MAKE JEWELRY. 133 

for the additional figures, a straight fifty per cent, is put 
on by some manufacturers. Others put on twelve per 
cent, first to cover the subsequent taking off of ten per 
cent, (as an inducement to the buyer), then the fifty pet- 
cent. Other firms, having put on the regular profit, size 
up the article and try to gauge it as a successful seller. 
Taking a chance, if it looks good, they clap on an extra 
twenty-five or even fifty per cent. This is all right 
enough if the pin sells. Makers who put on should also 
be willing to take off (for their own good). Some stuff 
would turn over faster and be reordered if figured a lit- 
tle lower in cost. 

Avoid the error of making goods too thin on the start. 
Articles sold all over the country and returned because 
of defection, to be replaced by more substantial and con- 
sequently heavier goods (always at the same price) often 
means wiping off a goodly slice of the profits. It is al- 
ways best policy to make a durable piece of goods and 
get a reputation for making such. It is generally safer 
for the man who figures the factory costs to stick pretty 
closely to actual figures. The gold, of course, must be 
put down exact, as otherwise the gold account would not 
balance. But sometimes a little discretion may be exer- 
cised. Thus if a man gets $2.50 for raising fifty pins, 
the raising is put at 8c. or more, instead of 5c, the mak- 
ing may be 38c, put it at 40c. This is done to cover lit- 
tle leaks that will creep in and also with a view of being 
on the right side of the ledger at the end of the year and 
showing a slight "factory" profit if possible. 

In the matter of weighing the pin to get the metal, some 
makers weigh as it comes from the jeweler and before 
polishing, others weigh the finished article, figuring that 
everything that is taken off it in polishing, cutting for 
enamel, setting, etc., is in the factory and will be recov- 
ered. While undoubtedly some of the gold is never re- 
covered, yet the writer inclines to the latter method as 
heing the nearest correct way of figuring, the loss of gold 
being charged against the factory; with the slight mar- 



i34 HOW TO MAKE JEWELRY. 

gins of figuring aforesaid to offset this. In dollars and 
cents, try to have amount of goods shipped from the fac- 
tory, plus the metal on hand, with labor on same and ma- 
terial, etc., at the end of the year balance the sum total 
charged against the factory. 

In spite of all this, in dull seasons the factory will of 
necessity run behind, as a place equipped for a business 
of say $300,000, and doing perhaps $40,000, will be all 
to the bad unless smaller space is used, non-producing 
force is reduced, etc. This, as mentioned in a previous 
article, is not always good policy, as the organization is 
ruptured, and a sudden rush coming on, you are not pre- 
pared to handle the orders. 



HOW TO MAKE JEWELRY. t 35 



CHAPTER XXXIII. 



REDUCING LABOR COSTS. 
The Rise of Specialty Shops— Producing a Better Article at 
Lower Cost— Economy in Buying Findings— Coloring 
and Soldering Done Cheaply by Specialists— Fear of De- 
signs Being Copied— Light Weight "Leaders." 

THE manufacturer of jewelry, especially if new in 
the business, must, if he would exist, pay close 
attention to the cost of production. There are 
three items to be considered, viz. : gold, stones, and labor, 
and in fine gold shops these generally average about one- 
third each. In other words, a manufacturer doing a busi- 
ness of $300,000 generally pays $100,000 apiece for the 
three items. He cannot get his gold any cheaper, and the 
stones usually cost the same to each buyer, therefore he 
must concentrate his energies on ways to reduce cost of 
labor. 

With this object in mind, a number of houses have 
started up, making a specialty of one article or process, 
and by doing this one thing over and over again the labor 
has been reduced to the extent that others could not pos- 
sibly have a look in. Not alone that, but a better article 
is the result. In the matter of making findings, or rais- 
ing parts of jewelry to be afterwards assembled by the 
individual jewelers, who embellish them with little fin- 
ishing applied pieces, is this strongly in evidence. New 
shops, recognizing these conditions, are quick to take 
"advantage of them, and as a result a design may be made 
in Newark, the die and stamping done in Providence or 
the Attleboros, the "strikes" returned to be made into 
brooches, links, scarf pins, etc., as orders may call for, 
then back to Providence for shading or coloring, and yet 
a better article is gotten at a considerable lower cost than 



136 HOW TO MAKE JEWELRY. 

would obtain if the same thing were made and finished 
in one shop. 

Special stampers will raise work, and make money at 
it, about five times as cheap as the average all-around 
shop can do it. A piece of jewelry an inch or so square 
will be made Roman or rose finished, or lapel buttons 
"shaded" in these special shops at surprisingly low cost. 
Plain soldering (hard) of small articles at a gross price 
not much above the ordinary dozen cost. The average 
chain as it runs, used for necklaces, lorgnettes, bags, etc., 
is given a Roman finish, or joints and catches are hard- 
soldered on pins in quantities so cheaply that a small shop 
cannot afford to do it for themselves. Specialists in find- 
ings will make tools and raise your goods cheaper than 
you ever dreamed of. How can they do it? Simply by 
being better equipped for doing just this one thing than 
is any one else. 

The old-time factories make their own pin tongues, 
joints, and catches, excepting the patent ones, some of 
them even making their own settings. This was all very 
well years ago, but the cost of making these parts to-day 
is such that, by the time the selling cost has been deter- 
mined, the price is skinned to death by the other fellow, 
who has been buying his joints, etc., at about one-tenth 
the cost of making them. Gold has got to be plump. It 
would not pay a concern to handle lower than plump 
quality. 

A great argument handed out' by the dowager jewel- 
ers, is that if they give out their die work some one else 
will see it and copy it. A man ought not to be in busi- 
ness if he fears competition. While there have been 
cases where dies have been copied and sold to rival con- 
cerns, these are rare. The goods themselves are bound 
to be copied if they are good sellers, and competition is 
the life of trade. 

In the matter of gilding, shops that make a specialty 
of this have an equipment and system that keeps track 
of every grain of precious metal in solution and a thor- 
ough knowledge at all times of amount deposited. The 



HOW TO MAKE JEWELRY. 137 



dynamo is fitted with rheostat and voltmeter and the tank 
also has a rheostat for further reduction of current, so 
that no gold is burnt on, or wasted, in other words. This 
is made possible by giving sole attention to just coloring 
and nothing else. The average shops figure from five 
cents up for gilding a pin or brooch. These special col- 
orers will do better work at less than one-half the cost. 

One large house made rope chain costing $15 per fifty 
inch lengths. Another concern started up, and, by intro- 
ducing up-to-date methods in labor production, sold a 
similar chain for $11. To this day the superintendent 
of the larger house tells me he cannot figure it out how 
the other concern is making any money. But they are, 
just the same. 

On the other hand, goods can be figured too close, so 
that they are made at a loss. These go into the "leader" 
class, but it is obvious that too many leaders will be dis- 
astrous. A common practice among firms making simi- 
lar lines, as bib or handy pins, etc., is to get up a special 
light-weight series and put them on the market at a price 
calculated to knock the other fellow's eye out. One 
large, old established house makes a line of pins which 
is sold actually below cost. They get back, however, on 
their other lines. Getting a reputation for cheapness by 
first introducing the low priced article, they proceed to 
unload the profit bearing goods, and, as an old-time trav- 
eling salesman once remarked when asked if he could sell 
a certain line of jewelry: "I'll sell it to him if he isn't 
looking." Having once gotten the retail man's confi- 
dence, it is not so difficult to sell goods with the reputa- 
tion for cheapness once established. Younger shops 
starting up would do well to keep in touch with makers 
of parts for jewelry instead of laying awake nights try- 
ing to figure out how to get out blanks or other material 
with a poorly equipped plant. 



138 HOW TO MAKE JEWELRY. 



CHAPTER XXXIV 



TIME AND LABOR SAVERS. 

The Vacuum Cleaner in the Factory — Of Sanitary Value as 
Well as a Money Saver — A Shop-Made System — A Live 
Steam Pipe for the Sink — Quenching Gold and Silver 
Work. 

THE practical use of the vacuum cleaner in jewelry 
factories has engaged the attention of the larger 
fine gold manufacturers, and one or two of them 

have had machines installed. The writer recently ac- 
cepted an invitation from the superintendent of the larg- 
est factory of fine platinum and gold jewelry in Xewark 
and inspected the vacuum cleaning apparatus. He 
learned that so far as any additi mal recovery of gold, 
filings, dust, or pieces dropped, was concerned, the re- 
sults did not warrant the expense of maintaining the 
cleaner, but the firm kept it in use for sanitary reasons. 
It should be said, however, that this particular shop is 
floored with corrugated sheet iron, thus affording little 
or no opportunity for the precious metals to get lost. 

Xow there are other factories, not so equipped, per- 
haps with just plain board floors, or those covered with 
tar paper, or where the jewelers work a few pieces or 
sections of slats are laid down. Then again the factory 
may be an old one, several years established in one build- 
ing and thousands of dollars' worth of gold and silver 
in dust form, are wedged in the crevices of the floors, 
walls, and even ceiling. The recovery of a great deal 
of this metal can be accomplished by a vacuum cleaning 
system which can be installed by your own toolmaker, 
by simply attaching a rubber tube to the suction box of 
your blower. The nozzles for the floor, corners, walls, 
etc., you can have made. The rubber tubing should be 



HOW TO MAKE JEWELRY. 139 



large, about two inches in diameter, in order to take 
up small pieces of waste and other matter. A factory 
with a polishing room also an enamel furnace has a blow- 
er which is powerful enough to draw a fifty-cent piece 
through 150 feet of pipe. The expense of keeping this 
apparatus is practically nothing as there is nothing to 
get out of order and the cost of operating is slight. 

It will be found a saving proposition if all men work- 
ing in gold are kept together, with rolls, lathes, and drill 
presses as near as may be convenient. Another thing 
which soon pays for itself is the putting in of a large 
brush on the inside edge of the sink so that the workmen 
may brush out their nails. Some factories wash all 
aprons and find it pays and also insist upon every em- 
ployee wearing an apron for the reason that the gold or 
platinum is more easily shaken oft than if it lodges on 
the wearing apparel. 

Upon reading advertisements of makers of gold alloys 
the writer notices that one concern uses the argument 
that, with his alloy, the number of remelts is greatly les- 
sened, thereby saving a loss in the gold. It isn't the gold 
that burns out, it is the copper, or the alloys that are 
used. The more times alloyed gold is melted the better 
quality it is. Pure gold melts at about 2000 Fah. and 
may be kept in a molten state for an indefinite time 
without losing any of its weight, even should the heat 
be increased. This little tip still further impresses on 
us the importance of keeping alloyed gold well covered 
with powdered charcoal, while in the melting crucible. 

A live steam pipe swinging in the sink, to be used in 
the various cleaning of bowls or for rapidly heating wa- 
ter, is a labor saving device much in use^ today. Cement 
covered work is soon cleaned off by this means, with a 
handful of common washing soda also thrown in the 
bowl. Where hollow work has been chased, and the in- 
side is filled with alum, always steam in plain water 
first. The "steamer" is also very useful when it is de- 
sired to heat alcohol to facilitate the dissolving of shel- 



i4o HOW-TO MAKE JEWELRY. 

lac from stone set workr This is done by placing a cup 
or vessel containing the alcohol into the larger bowl which 
has the hot water and the steam pipe. There is no dan- 
ger of the alcohol becoming ignited this way. 

In raising work in the die, some of the drop hands 
place a great deal of faith in the quenching of red hot 
pieces in alcohol before each operation. The writer finds 
that the work is not softened or made more pliable there- 
by and the only solid excuse for using the spirit is, that 
it cleans the surface from oxide, cooling the work at the 
same time. The same results can of course be gotten 
by boiling out in pickle. Silver can be quenched by 
throwing into a solution of cyanide of potassium and wa- 
ter. This removes all oxide and presents a pearly white 
surface. In all events, work after annealing should al- 
ways be clean before putting through the next operation. 



HOW TO MAKE JEWELRY. 141 



CHAPTER XXXV. 



SOME SHOP PROBLEMS. 
In Response to Subscribers' Inquiries — Filling in Letters En- 
graved on Ivory — Mixing Aniline Colors — Working i& 
Karat Gold — Alloying Coin — Heavy Rolling to Close 
Grain. 

WILL you kindly publish how to mix paraffine and 
aniline used to fill in letters engraved on ivory, 
etc.?" 
Letters engraved on ivory are best filled in with black 
lacquer applied with a finely pointed pencil brush. Broad 
incisions may be filled in by using a composition of as- 
phaltum, some parafifine wax and a very little beeswax. 
This mixture is applied with heat and leveled off with 
pumice stone. The ivory should be placed on an iron 
plate or pan and slowly warmed. 

A less risky method is to dissolve black sealing wax in 
alcohol and paint on when thinned to the proper con- 
sistency. Another black paint is made of amber varnish 
dissolved in spirits of lavender. A good filling is also 
made of 12 parts of pure beeswax to 1 of litharge. A 
good black aniline varnish is made of aniline black, 2- 
parts ; gum lac, 3 parts ; 90 per cent spirit, 45 parts. Dis- 
solve the aniline in as little as possible of a mixture of 
alcohol and concentrated acid, then add to the alcoholic 
and gum lac solution. 

Aniline colors, which are insoluble in water, may be 
rendered soluble by mixing gelatine in acetic acid (of 
about the thickness of syrup and adding the aniline color 
in the form of fine powder) stirring well all the time. 
The mixture is then heated over a water bath to the tem- 
perature of boiling water, and kept at that heat for some 
time. Colors in this state, if a very clean gelatine syrup 



i42 HOW TO MAKE JEWELRY. 

is employed, are useful for many decorative purposes, as 
filling in of spaces in ivory, wood, paper, etc. 

A good ink for ivory is made of five parts sodium sili- 
cate dissolved in boiling water and adding live parts of 
liquid India ink. Only sufficient water should be used to 
make the liquid flow easily. 

Probably nitrate of silver is the most satisfactory of all 
the various processes for blackening ivory. Procure 50 
grains of nitrate of silver and dissolve in 1 ounce of dis- 
tilled water. Paint on with a small brush, let dry, then 
place in the sun. 

''I have always had more or less trouble in working 
i8-k.-gold, especially when alloying coin. I would like to 
be enlightened on this 'trick of the trade.' " 

In alloying fine gold (24-k.) or coin gold down to 18- 
karat, silver and copper should be the only alloys used. 
The silver should be fine and the copper either purified 
shot copper or the special wire made for alloying. A 
pale, ductile, and malleable 18-karat is made of fine gold, 
18 parts; silver, 4 parts, and copper, 2 parts. If a red al- 
loy is desired simply reverse the amounts of the silver 
and copper. When using coin gold which is about 22- 
karats fine (21 3-5-karats, to be exact), an excellent 18- 
karat alloy is, gold coin, 19^ parts; silver, 13^2 parts, and 
copper, 3 parts. This is a good ring alloy. 

American coin gold consists of 90 parts fine gold to 10 
of copper. The French coin is tlhe same. The English 
gold coin is a trifle finer, being composed of 91.66 parts 
fine gold to 8.34 parts copper. 

Where convenient, it is better to use 24-karat or fine 
gold in the making of alloys, as in the frequent meltings 
of coin gold the copper oxidizes and burns to a certain 
extent. However, with care in melting and rolling, 18- 
karat gold may be gotten out either way. 

Always use same crucible in melting, that is, do not 
use one in which silver 'solder or other metals have been 
melted. Put in metal so that gold is last layer. Break 



HOW TO MAKE JEWELRY. 143 



a few crumbs of lump sal ammoniac, mix in with pow- 
dered willow charcoal and cover the gold we'll. When 
melted stir thoroughly with an iron rod, keeping the mol- 
ten mass under the charcoal layer. Remove from the 
furnace and let stand until the top of crucible extending 
down to the gold shows a dark red, almost black, then 
pour quickly as possible into an ingot which has been pre- 
viously warmed a little. Eighteen-karat gold is pretty 
much like silver in melting and pouring; if poured too 
hot it will spit and rapidly absorb the air. 

After removing from the ingot the gold should be well 
hammered and given two or three heavy drafts through 
the rolls to insure closing of the grain in center of the 
bar. Many a bar of perfectly melted i8-karat gold lias 
been condemned simply because it was not properly 
"broken" down in the rolling. 

If light drafts are used the surface only is pressed, the 
grain in the center being stretched, later showing cracks 
and holes. Eighteen-karat gold should never be annealed 
after removing from the ingot until it has been well ham- 
mered and rolled. 

The reason tftiat silver and copper should be the only 
alloys used is that prepared alloys on the market usually 
contain zinc in some form or other and burn out or vola- 
tilize in gold as high as eighteen-karat in quality. 



i44 HOW TO MAKE JEWELRY. 



CHAPTER XXXVI. 



THE BUYING OF STONES. 
Assorting Sizes of Melees — Careful Figuring Necessary on 
Goods in Which Only Small Diamonds are Used — Get 
Your Profit on Goods That are Moving — Stones Sold by 
the Pennyweight — How Pearls are Sold — Shaped Stones 
Priced by the Dozen. 

THE manufacturer buying diamonds direct from the 
cutters is often confronted with the rather diffi- 
cult task of assorting the various sizes and putting 

them in stock at the prevailing market value. To illus- 
trate, we will presume we have purchased 30 carats of 
melees (different sizes), and in this paper of diamonds 
we sort out 12 carats of stones running 64 to the carat, 6 
carats averaging 100 to the carat, 5 carats that run about 
150 stones to the carat, and the balance in 1-16 carat 
stones, 1-8 carat, a few 1-32 carat stones, in all weigh- 
ing together 30 carats. We have bought the lot at $100 
per carat. Now, 1-64 carat sizes may be bought for less 
than $100 a carat, while on the other hand, the smaller 
size stones cost to-day anywhere from Si 25 to $250 per 
carat. 

Figured on these prices it has happened that the small- 
est diamonds cost more than those four or more times as 
large — a stone weighing 1-32 being cheaper than one run- 
ning 150 stones to the carat. Of course, no customer is 
going to pay more for a smaller stone, and consequently 
the smaller stones are figured very close and the profit 
put on the larger ones. A great deal of judgment must 
be used, however, as, for instance, where a line of goods 
is selling in which nothing but small stones are set, and 
it not always being an easy matter to run across a cheap 
lot of melee, a paper of stones the exact size desired 
must be bought and usually at a greatly advanced price. 



HOW TO MAKE JEWELRY. 145 



In other words, figure your profit on the stones that are 
moving; the stuff 111 your safe is practically so much dead 
wood. As soon as you get the costs figured out, put on 
10 per cent, and put stones in stock. 

Semi-precious stones are sold by the pennyweight and 
also by the dozen. This includes amethyst, topaz, lapis 
lazuli, coral, turquoise matrix and other stones of about 
these grades. Pink and green tourmaline and peridot, 
with, of course, the rubies, sapphires, emeralds, olivenes, 
Montana sapphires and turquoise, are, like the diamond, 
sold by the carat. 

Of the reconstructed, scientific stones, the ruby is most 
in favor. These last stones find ready sale outside of 
New York. Most likely the exclusive jewelry shops on 
Fifth avenue persistently refuse to handle the recon- 
structed stones, fearing it would hurt the sale of the 
natural article. 

In the matter of whole pearls, some stone dealers quote 
prices per grain base and others show you a paper of 
pearls at so much a grain. Mr. A. has a lot of pearls for 
sale at $2.50 per grain base. You select one weighing one 
and a half grains. Now, to get the price per grain of a 
pearl weighing one and a half grains, you multiply the 
cost per grain base ($2.50) by one and a half. This is 
$3.75. Multiply this by one and a half and you get the 
cost of a pearl weighing a grain and a half at $2.50 per 
grain base, which is $5.63. A four grain pearl, $2 base, 
is worth 4x2x4. equals $32. The weight of the pearl 
multiplied by $2, gives the price per grain, and multiply- 
ing this by the number of grains in the pearl, gives us the 
cost of the pearl. Half -pearls from No. 3 to No. 12 are 
usually sold at prices per one thousand, while the larger 
sizes are quoted per hundred. 

Baroque pearls are usually sold by the grain, the 
smaller sizes being fractions thereof. For instance, we 
buy a paper of 1-6 baroques at 18 cents per grain, each 
pearl costs us 3 cents. The smaller diamonds, whole 
pearls and half-pearls may be conveniently kept in small 



i46 HOW TO MAKE JEWELRY. 

bottles, the rubies, sapphires, emeralds, olivenes, etc., also 
in the same way. Have a sheet iron or tin box made in 
which the bottles stand snugly. The writer colors the 
corks so that at a glance he can tell which bottle holds 
sapphires and which rubies, etc. 

All stones should be entered in a stone book as soon as 
bought and given a mark, a letter or a figure. Say we 
buy ten carats of Montana sapphires from Smith & Co. 
We enter the lot in the book as ninety or a hundred Mon- 
tana sapphires, whatever the number is, "Series A," and 
leave space for subsequent entries as the stones are used. 
The bottles are likewise labelled "A." Now, when all 
these stones are used and it becomes necessary to buy 
more, the next invoice is marked "B," and so on to the 
end of the alphabet. 

The semi-precious stones that are sold by the dozen 
are those that have become more or less staple, as the 
oval stone for links and scarf pins, and also the square 
stones used in bar pins. It is a great deal more con- 
venient to figure this stuff by the dozen, and the weight 
of each individual stone is not so important as in the case 
of the very precious stones. 

Reverting to the beginning of this chapter, I am re- 
minded of a business interview with an ambitious young 
stone salesman who had a lot of olivenes he was extremely 
anxious to dispose of. Upon naming his price for the 
lot, we asked him what he would charge for a selection 
of some of the sizes. He promptly quoted us a price 
which was more than he wanted for the entire lot. Upon 
our venturing to remark that he seemed a little high, he 
said that he had to ask more for a selection, as the sizes 
left were not desirable. 



HOW TO MAKE JEWELRY. 147 



CHAPTER XXXVII. 



MAKING PEARL JEWELRY. 

Preparing the Dies for Saving Stock — Using the Pump Drill 
— Making the Drills and Beading Tools — Polishing with 
Emery Paper — Burrs for Claw Work — Half Pearls in 
Platinum — Different Alloys Used for Gold Work. 

FACTORIES making fine jewelry having half-pearl 
ornamentation, make it a practice to have the 
places meant for the pearls struck up in the die. 

Before the die is sunk the hub is given to the stone setter, 
with instructions as to the number of pearls it is desired, 
and size to go in pin. The hub being drilled correctly, 
it is then hardened and a die sunk from it, when the set- 
tings will be clearly indicated in the gold work and will 
only need a little redrilling to sharpen them up and make 
a snug receptacle for the pearl. The one disadvantage 
is that the edges are apt to break off around the pearls 
every once in a while, necessitating a new die or a soften- 
ing and resinking of the old one. This is comparatively 
of little moment, however, and is more than made up in 
the uniform output of goods, same size pearls and 
quantity, and also in the saving of the stock, an article 
with the pearls in the die being raised about one-third 
thinner than if it were to be drilled afterwards. Half- 
pearls are mostly set piece work in the large factories, 
as, in fact, are nearly all stones, some of the shops re- 
taining one or two men to work on special or odd de- 
signs at a fixed wage. 

In drilling, the pump drill stock is used as shown in 
Fig. 1. Some setters use two stocks, a lighter one for 
cleaning out the holes after the first drilling and cut- 



i 4 S 



HOW TO MAKE JEWELRY. 



ting has been done. Eel skin or snake skin evenly cut, 
makes the best cord, although or- 
dinary belt lacing is used. This lat- 
ter has a tendency to keep stretch- 
ing-, and the skin is recommended 
as being tougher and more lasting. 
The end of an old toothbrush 
is tied to one end of the handle, 
as shown. This enables the 
setter to keep his work clean 
from the drillings without 
having to pick up a 
brush every time. As a 
lubricant, some use tur- 
pentine and others 
swear by soap and 
water. Personally, the 
writer thinks the latter is the better ; 
it works as well, and you are not 
up against the odor of turpentine 
all the time. 

In making the drills, use only 
the best Stubbs' steel and get a 
thickness that fits the tail stock 
snugly — not the slightest rock or wabble ; this is most 
important in good Avork. Learn to file the drills to 
the various sizes so they will drill absolutely true to 
center. Of the sizes you will use the most, say from 
No. 5 to No. 10, make at least a half-dozen of each size. 
You are bound to have some "pets" among* these that 
will drill better than the others, and when these finally 
give out, the old timers say it is like losing a friend. 
Fig. 2 shows how a drill should be filed and ready to 
insert in drill stock. The cutting edge should be only 
slightly beveled, and you should make it a rule to have 
all drills cut on the down stroke, generally when the 
stock is turning to the right. Try to work with as 
little a tip or ""tit" to drill as possible, so that it will 
not show on back of the article vou are setting:. For 




HOW TO MAKE JEWELRY. 



49 



hardening-, some setters plunge drill, after heating to 
a cherry red, in beeswax, others use ordinary 
ii machine oil, and lots of drills are hardened in 
water in which a little salt is thrown. They all 
work about the same in the long run. Before 
heating, the drill should be stuck in a cake of 
soap. This protects the steel in the flame 
and prevents the surface of the drill 
from getting burnt, and also pre- 
* ii sents a clean surface ready for tem- 

ilCt, % I pering after coming out of the hard- 
1 ening bath. Do not blow directly 
on the point of the drill in heating, 
but about a half-inch from the end, 
and as the drill gets red gradually 
heat to the end. The drill may now 
be brightened a little more by rub- 
bing on the oil stone and then held 
in a gas flame, or over an alcohol 
lamp, letting the flame strike the middle of the drill un- 
til it shows blue and a straw color is spreading to the 
cutting end. When a pale yellow or straw color shows 
on the end, plunge at once into oil or water, and the 
drill is ready for the final sharpening. The end fitting 
into the stock need not be hard, of course. 

The usual method in drilling work for pearls is to first 
drill about three-quarters the depth, then do the bright 
cutting, then redrill to get the other quarter or full depth. 
This sharpens up the hole, cleans it out, etc. The bright 
cutting is done with a graver called a "spit stick," and is 
a knife-edge cutting tool with the sides slightly rounded, 
as shown in Fig. 3. The beautiful bright luster is got- 
ten by carefully rubbing the cutting sides and point of 
tool with the finest emery paper (No. 4 / p ), after well 
sharpening on the oil stone. Do not polish too much 
so as to smooth off the cutting edge and prevent a 
clean cut. Setters of twenty years ago, and some to- 
day, use "bort" (diamond dust) mixed with a little 
alcohol and rubbed on a boxwood block to polish their 



150 



HOW TO MAKE JEWELRY 



gravers, but the finest emery paper, does just as well, 
is cheaper and more convenient to handle. 

The beading tools are also made of Stubbs' steel, and 
are shaped and filed to the size the bead on the end indi- 
cated with a half-round graver and then finished in a 
beading block, hardened and tempered and well polished 
by putting in a lathe and pressing the emery paper 
against the end by means of a piece of wood. The bet- 
ter the tool is polished the brighter the bead on your 
work. All stones, other than pearls, that are set close or 
thread set, are first laid out with a pearl drill and then 
drilled through with a twist or flange drill slightly 
smaller so as to leave a bearing for the stone. 





In cramp or claw work, where the stones are held by 
prongs, if a number of stones the same size are to be set, 
a burr or frazer is made and is put in an upright drill 
press or lathe. The work is held firmly and is carefully 
burred out so that the stone will fit in. These burrs may 
be bought in sets from the jewelers' supply houses, but 
the writer recommends making your own to fit the job 
you are working on. A little experience will soon teach 
you how to go at it. Do not have your cutting edges 
very deep and use as fine a three-cornered needle file as 
you can. Get familiar with the drill press, whether it 



HO W TO MAKE JEWELRY. 1 5 1 



runs true with not too much swing or wabble. You might 
make a burr the exact diameter of the stone to be set and 
your lathe not running exactly to center would of course 
cut a larger hole. Fig. 4 shows some burrs or frazers, 
in use to-day. Excepting the beaded prong on a setting, 
no gold work should be polished after setting; the work- 
man should send in his work all beautifully bright cut, 
the scratches or "slips" on side of work (if any) care- 
fully burnished out. The pearls, after putting in the fin- 
ishing parts, are covered with a paste of powdered car- 
bonate of magnesia and sent to the polishing room for 
washing out, the putting on of the magnesia preventing 
any rouge or tripoli from getting in the pearls in the final 
touching off of the pin tongue rivet, pendant attachment, 
etc. Magnesia is also painted in as a bed for the pearls 
before being set. This in a measure keeps out moisture 
and prolongs the life of the pearl. 

Where half-pearls are set in platinum, as is the case 
in a few of the stores, the mounting is drilled and cut, 
the pearls fitted and then polished with a special plati- 
num tripoli and rouge before the pearls, are fastened in. 
All stone work, diamonds, sapphires, rubies, etc., of 
course may be polished after they are set in platinum, 
the "azures," or holes in the backs, being covered with 
the magnesia before doing so. 

All half-pearl work that is not backed, as stars, sun- 
bursts, fancy scroll pins, etc., is cut out of 170 stock in 
the dial screw gauge. Articles raised in dies may be got- 
ten out of 120 stock, and goods that are backed up are 
made out of as low as 60 stock. 

Excellent alloys for half-pearl work are: iS-kt. — Fine 
gold, 18 parts; fine silver, 4 parts, and fine copper, 2 
parts. 14-kt. — Fine gold, 14 parts ; fine silver, 7 parts ; 
and fine copper, 3 parts. 10-kt. — Fine gold, 10 parts; 
fine silver, 6 parts; fine copper, 2 parts, and Guinea al- 
loy, 6 parts. 

These alloys are all a pale, rich color, and are well 
adapted for half-pearl work. If they should be desired 



i 5 2 HO W TO MAKE JEWELRY. 

a trifle more red, simply take off from the silver and 
add to the copper so that your totals, 24 in each case, 
will be the same. It is a good plan to have a piece of 
brass plate, the exact thickness of your work in hand, 
to experiment on so as to see if drills are working - right, 
"tit" is short enough, etc. 



HOW TO MAKE JEWELRY. 153 



CHAPTER XXXVIII. 



DRILLING PEARLS FOR STRINGING OR CEMENT- 
ING. 

Special Pliers for Holding the Pearl — Making the Drills — 
Wider Grooves Than in Regular Twist Drills — Bow Drill 
for Irregular Shapes — Cement Supersedes Wedges in 
Fastening Pearls on Pegs — Liquid Solutions of Little 
Use — Riveting Not Advised — Making Rope Necklaces. 

ROUND or button pearls are drilled for stringing 
or cementing on pegs by holding them in a pair 
of pliers especially altered »for this purpose. The 
plier is filed on both sides and a piece of copper or brass 
is soft soldered on; cavities are hollowed out just large 
enough to take the pearl and hold it firmly for drilling 
without any risk of crushing the pearl. A hole just large 
enough to admit the drill you are going to use is drilled 
through one nose or side of the pliers so that it goes 
through the center of the hollow. (Fig. I.) The up- 
right drill press is the most practical for drilling pearls, 
but good work can be done on a horizontal lathe as 
well. After drilling the plier it should be hardened, 
as in drilling several pearls the drill will wear the hole 
larger and the pearl will not be drilled in the center, and, 
furthermore, unless the drill point strikes the center of 
the pearl there is risk of splitting it. The large and ex- 
pensive pearls are drilled by hand, an old style bow drill 
being used. This bow drill may be made out of a piece 
of a rib of an umbrella, or, better yet, a whalebone. Vio- 
lin string or catgut is the string used. Do not have too 



*54 



HOW TO MAKE JEWELRY. 



great a tension, as the drill wheel will take up some of 
the slack. 

Drills for both the lathe and hand work are specially 
made r generally by the man who does the drilling. The 
regular twist drills are too solid, not enough groove in 



FlOr 3 




them, as they are made for metal drilling, and while they 
are used occasionally, the pearl driller soon finds that a 
drill made on finer and more delicate lines is what is 
needed. Now, to make these drills, get a coil of best 
steel piano wire, the size of the hole desired, and cut off 
a dozen pieces three inches long. Put one end in a pin 
vise and hold over an alcohol lamp so that point of flame 
touches middle of wire. When red quickly place on a 
hardened smooth flat steel block and hammer with a 
smooth face hammer. When the center section is flat- 



HOW TO MAKE JEWELRY. 155 

tened say about three-quarters of an inch, and is about 
forty points in a dial screw gauge, smooth carefully with 
fine emery paper, hold again over the lamp and twist ; 
leave the grooves wider 'than in a regular twist drill. 
Place again on the flat block and hammer carefully so 
that the twist will be the same thickness as the shank of 
the drill. (Fig. 2.) Finish by drawing the wire through 
a round hole draw plate. Now file through center and 
you have two drills ready for hardening. If you have 
twelve strips, twenty-four drills are now made. 

After drawing down (tempering) to a deep straw col- 
or, put the shank in a lathe (horizontal) and fit a grooved 
metal block for the drill to rest in while smoothing and 
sharpening the spiral with a needle file oil stone. The 
point of drill is sharpened so that the cutting edge is 
slightly higher than the general face of the point. Al- 
ways have plenty of drills ; you will find some of them 
good, doing twice or three times the work of the others. 
Sometimes out of a couple of dozen drills perhaps only 
twelve or less are of any real service. This may be the 
fault of the steel, overheating or burning in the harden- 
ing, or not running true in lathe, etc. The writer has 
found it best to chuck out these poor drills at once and 
make others. When you get a couple of dozen good 
ones hang on to them and they will last for years. 

A piece of brass hollow wire is drawn over the drill, 
leaving just enough of the business end to work with. 
This strengthens the drill and also serves as a gauge in 
determining depth of hole. Soft solder the brass to the 
drill at the shank end ; enough solder will run in to hold 
securely. 

The ordinary flange or flat drill, filed beveled, the cut- 
ting edge also slightly beveled, is used in the bow drill 
(Figs. 3-4). 

Irregular shape or baroque pearls are nearly always 
drilled by hand in first-class factories. These pearls gen- 
erally have a better side; the pearfis first marked with a 
point and is. then held in a pair of pliers hollowed out as 



156 HOW TO MAKE JEWELRY. 



before, only that no hole is drilled in the pliers. Un- 
less you are drilling thousands of these pearls, in which 
case the man's bench is fitted up with a power lathe, af- 
ter marking the place to be drilled, insert the point of 
drill and use the bow drill and the job is done. To first 
mark the pearls and then take the lot to a lathe means 
handling each pearl twice and a turning of them over to 
find out spot for drilling, the labor consequently being 
more. Baroque pearls should always have a flat base. 
Touch off the pearl carefully with a new flat file. This 
insures against rocking on the peg and prevents a great 
many pearls from becoming loosened and lost. 

Cements of various kinds are used almost exclusively 
in fastening on the pearls. Some years ago large pearls, 
especially for studs, were riveted on. This was necessi- 
tated by reason of the fact that in those days gum mas- 
tic was the only cement used. One way of fastening the 
pearl was to use a split peg; a tiny wedge was inserted 
and as the pearl w r as gently tapped on the wedge was 
driven further in the peg, thereby spreading it, a drill 
with the point broadened out being previously used. This, 
when inserted in the pearl, widened the deepest part of 
the hole. Another method was to use a fine gold or 
green gold hollow peg with a little shot in the end loose ; 
said shot forcing into the hollow wire with the tapping 
on of pearl as before. These pearls when put on in this 
manner were there to stay, and therein lies the trouble, 
as in later years large numbers of these pearl studs were 
sent in by private customers to have pearls removed and 
mounted into brooches, pins, etc. The only safe way to 
get out the peg in this case is to drill it out, using a small 
drill as a starter and finishing with a drill about the size 
of the peg. 

There are now in use special prepared cements for 
pearls, of which the best is Wagner's American pearl ce- 
ment. For some work a French white mastic is liked, 
and for large pearls of -a grain or over white shellac is 
excellent. There are also on the market liquid solutions 



HOW TO MAKE JEWELRY. 157 



for pearls. These are not of much use except in imita- 
tion pearls, and ordinary liquid glue will answer for 
these just as well. To properly fasten on a pearl with 
cement the hole should be as deep as possible without 
showing from the front. The peg should be well rough- 
ened and "chewed" up, so that pearl goes on snug. 
Warm up cement and "string" out to just the thickness. 
Plug up the hole with cement, heat both the pin and pearl 
and quickly fasten on and hold with tweezers until cool. 
If you are putting a number of pearls on one pin gently 
warm all after final pearl is on, and go over the lot. 
Sometimes a pearl will "rise" a little in putting on of the 
others. 

In certain work to-day some manufacturers use a 
platinum peg, drill pearl all way through and rivet the 
pearl on. This is chiefly done in work where the pearl is 
put on sideways, the end of the rivet not showing from 
the front. This practice is not advocated, as the pin or 
article being discarded, it is hard to adapt the pearls to 
other jewelry. A pearl with a hole clear through it is not 
nearly as valuable either. 

Whole pearls are used in the making of rope necklaces, 
two or more strands being used. A very effective and 
less expensive way is to alternate the strands with onyx 
beads. These pearls and beads are strung on surgeon's 
silk and the "ropes" are made by tying the number of 
strands together at one end, stringing on the pearls or 
beads, then twisting each strand separately considerably, 
and finally bringing all together, when the recoil will 
twist them all into one rope. The ends are securely tied 
to prevent unfastening or untwisting, and a box and 
snap cemented on with shellac. 

Pearls are strung on platinum or gold wire, making 
fancy patterns, as Figs. 5 and 6. The wire for stringing 
is drawn very fine, in the case of platinum especially so, 
and are wound into narrow oval or flat rings, as A, 
squeezed through the hole in the pearl and the ends 
rounded into rings, as B, and jumped together with a 
connecting ring. The same principle is carried out in 



158 HOW TO MAKE JEWELRY. 

Fig. 6. They are made in any number of' widths. The 
loose connecting ring is sometimes not used ; in this 
case the eye wire is linked into the preceding one 
and soldered, then squeezed through the next pearl, 
another eye ring fitted in and soldered, and so on. A 
very tiny flame is used so as not to risk scorching the 
pearl. 



HOW TO MAKE JEWELRY. 159 



CHAPTER XXXIX. 



RING MAKING. 

An Apparently Inviting Field in Which There is Sharp Com- 
petition — devolution of Methods — Labor Saving Devices 
and Modern Machines a Necessary Feature — Dies and 
Press Work for Ornaments — 18-Karat Settings on Lower 
Grade Shanks. 

THERE is no branch of jewelry manufacturing that 
has been revolutionized more in the past twenty 
years than the making of rings. An inviting field 
to enter, by reason of the enormous output and the con- 
stant demand, manufacturers have gone exclusively into 
this line, discontinuing all else ; hundreds of ring shops 
have sprung up all over the country, since, excepting in 
the case of the fine platinum goods, fancy special and 
carved work, rings can be made by low priced labor: 
There being little opportunity for getting out anything 
distinctly new and original, under sharp competition, the 
makers have been forced to devote all their thought to 
labor-saving devices, installing machinery and tools to fa- 
cilitate quick production. 

Twenty years ago the writer worked in a New York 
factory and remembers the methods then in vogue — roll- 
ing down a bar through the half-round rolls, cutting into 
different lengths, rounding on the ring shaper, soldering, 
rounding on the mandrel, the subsequent turning or tru- 
ing on the lathe and the final polishing of the wedding 
ring. Shanks of fancy rings were all struck in two 
halves, soldered, shaped up and the setting or box, or 
whatever it might be, was let in. Some rings are made 
this way to-day by small concerns, but the firms making 
the one piece wedding ring, cutting or punching it out of 
a piece of stock and swedging it up in very few opera- 
tions get the business. 



i6o 



HOW TO MAKE JEWELRY 



F/Gr A 




In getting out fancy rings of all kinds, signets, clusters, 
in fact all combinations of stones, the main feature to 
keep in view is' the getting of the top, or ornament, out 
as cheaply as possible by means of dies and presswork. 
Figure I shows the hub of a plain signet. This, of 
course, is sunk in a die and a dummy or half -hollow 
force is reduced to strike up stock. A blank is cut out, 
slightly thicker than the shank is to be when finished, 



Fio\ 2 





Struck in the die, passed through the cutter for trimming, 
shaped up, and a lining let in under the top, extending 



HOW TO MAKE JEWELRY. 



161 



under the shoulders of the shank. See Fig. 2. This is 
soldered and filed up carefully. It might be added that 
a notch is filed in some instances on the inside of the 
signet before bending flat and shaping up, so as to avoid 
straining the gold and showing "frets," or seams, across 
the top. 

While the best, or at least the highest priced, Tiffany 
rings are still made all in one piece, being hammered and 
filed out of a thick piece of stock, an excellent ring is 
made as in Fig. 3. The stock in this case is cut somewhat 
thinner than the head, or the thickest part, and after be- 




F/*6 




Ft*? 




ing removed from the drop hammer, the gold will have 
been forced up into the deepest part, or shoulder of the 
shank. Always find out before striking up any big jobs, 
just how thin you can roll your stock, and act accord- 
ingly. Shape up shank, get exact size wanted, have a 
burr or frazer, just the size and slant of setting you pro- 
pose soldering in, burr out clean, so that setting fits snug- 
ly, and solder with best quality solder. Some firms use, 
in an all gold ring, 18-karat settings, regardless of what 



i6 2 HOW TO MAKE JEWELRY. 

the karat quality of the shank may be. This lessens the 
danger of burning or melting the points, and after setting 





nq-9 





the prongs take a much better and more lasting bright 
cut. Fig. 5 may be struck hollow or solid, as desired. 
The hole for the stone is drilled after ring is shaped up 
and soldered. Fig. 6 is made from the same die, the hole 
being drilled before the ring is rounded, thus forming an 
oval setting. 

A style of ring shank is shown in Fig. 7 that is capable 
of any number of combinations of settings. It can be 
adjusted to a round, cushion shape, oval or square stone 
with equal facility, or a round or oval blank may be sol- 
dered on the top as a' signet. Staple patterns in cluster 
rings, both round and oval, or "Marquise," and also the 
"Princess," are made by cutting out the outside wall or 
outline, and soldering in the inside sections. In Fig. 8, A 
is soldered in as at B, with a single setting in the center, 
as at C. When complete with shank and stones, we have 
a finished cluster ring like Fig. 9. The little oblong prong 
in A is split by the stonesetter, each half thereby becom- 
ing a prong. With these ideas furnished, the jeweler can 
branch out into an endless number of designs. Where 
more trimming is wanted, always try to get it out in the 
die. 



HOW TO MAKE JEWELRY. 163 

The getting out of the signet, as at Fig. 1, enables us 
to get an undercut. For heavy, elaborate and jeweled 
rings of intricate design, sectional dies are made. The 
sale of such goods is obviously confined to a few stores, 
and it is doubtful if cost of the dies is ever gotten out 
of these expensive patterns. 



i6 4 ■ HOW TO MAKE JEWELRY 



CHAPTER XL. 



SIZING AND SOLDERING OF RINGS. 

A Frequent Item in the Jewelry Repair Department — Sawing 
a Ring from the Finger — Finding the Length of Added 
Piece — Some Wrong Ways of Fitting — Cut Out Sections 
Previously Repaired. 

WHILE the soldering and sizing of rings has been 
touched upon in a previous chapter, yet upon 
noting some queries in various trade papers the 
writer will go more into detail, and also endeavor to add 
more information about this, probably the most frequent 
item in the jewelry repair department. 

The jeweler is called upon to take a ring off a finger, 
and the ordinary methods failing, it has to be sawn 
through and spread open to slip off. It is a notorious fact, 
that some storekeepers have been known to spend a half- 
hour or more fiddling with a needle file (oftentimes a 
larger one), rasping off the skin and otherwise making it 
uncomfortable for the customer. 

A ring may 'be removed in a few moments without 
trouble if lifted, by means of two pieces of wood, from 
the flesh, the saw blade inserted, secured to its frame 
(rather slack), and the sawing done carefully. If the 
ring is a thick, heavy one it is sawn in two halves ; better 
to do this than to take any chances of mutilating flesh by 
trying to open with pliers or other tools. Thin, narrow 
bands are sometimes removed by cutting with cutting 
nippers. This is more or less risky and does not make 
as clean a job for letting in of a piece for enlarging the 
ring. AVhen you start to use the saw, explain to your 
customer the method of procedure and you will allay 
much unnecessary nervousness, especially in case of chil- 
dren. 



HOW TO MAKE JEWELRY. 165 

All ring sticks have a gauge marked to show the length 
a piece of metal should be to make a ring size 5, 6, etc., 
and also how much gold to add to make a number 6 ring 
size up to number 8, and so on. The rule is to mark off 
the length of the piece and add the thickness of the goid 
extra. This last is not so important in thin rings, but in 
thicker shanks it will be found an item. 

Another way to find out is to open up the ring to the 
right size, place on a ring stick and fit in the piece of gold. 
Where possible, tie not too tightly together with iron 
binding wire. If a ring after soldering does not quite 
reach the desired size it may be enlarged by placing on 
a steel mandrel and gently tapping with a hammer. Do 
not tap the solder joints. 

The mandrel, by the way, should be of hardened tem- 
pered steel and the apprentice boy instructed not to fill 
it full of dents or nicks. The hammer should be of 
slightly softer steel to preclude this happening, which will 
save a lot of labor in refinishing rings. All joints to be 
soldered should just touch and no more. If the ends of 
a ring spring together, they will overlap or open out in 
the heating. Examine a ring well to find the joint before 
sawing through, and if in doubt anneal black, when seam 
will show. If a ring shows signs of having been soldered 
in a number of places, or a section is plastered with sol- 
der, you will find it much cheaper to cut out that section 
and replace with a new piece of gold. It does not pay 
after you have carefully fitted a piece to have half the 
shank tumble down like a stack of cards in the soldering. 

Heavy rings are opened for enlarging by forcing on 
steel mandrel and hammered with a rawhide mallet. Tis- 
sue paper made by folding up strips about a half-inch 
wide, of a dozen thicknesses, is the quickest, best and 
most practical covering for stones. The expert ring sizer 
will have half a dozen of these strips laying at his place 
in a shallow dish or plate, with just enough water to keep 
them wet, and taking the rings as they run will size a 
dozen an hour. The paper is neatly and quickly wrapped 
around stones, well pressed down and held with spring 



166 HOW TO MAKE JEWELRY. 

tweezers. Care must be taken to see that paper does not 
open from ring in soldering. It is well to drop a little 
water on to paper just before soldering to insure a thor- 
ough wetting. 

Asbestos string is sometimes used, but this is unneces- 
sary if directions are carefully followed out. Use a large 
flame, plenty of gas, and solder as rapidly as possible. 
If necessary to stop and add solder after the ring has been 
heated, it is advisable to examine paper and drop a little 
more water on if needed. 



HOW TO MAKE JEWELRY. 167 



CHAPTER XLI. 



CHAIN MAKING. 

Machine Work on a Large Scale — Cutting Up for Special 
Patterns — The Popular Sautoir — Finishing in Roman — 
Linking-Up Rope — Making Links for Enameling — Insert- 
ing Pearls. 

LARGE manufacturing concerns in Providence and 
the Attleboros have gone into the making of chain 
on a large scale, installing machinery and specially 
training their employees for this branch of the jewelry 
business, thereby reducing the cost of production to a 
point considerably less than it is possible for the average 
maker of jewelry to turn out cable, rope, horseshoe or 
corn jchain, foxtail or other patterns. 

These chains, especially the cable pattern, are bought 
from the chain makers in about 100 ft. lengths and are 
cut up by the manufacturers of pendants, LaVallieres, 
fancy drop necklaces, festoons, etc. A little touch of 
originality is given by the insertion at intervals of a hand- 
made ornamental link. This stamps a sort of individu- 
ality on the goods and a demand is often created for a 
simple cable neck chain which has half a dozen little 
gold or enamel ornamental links let in at equal spaces. 

In buying the cable chain it is best to get the kind that 
has separate soldered links. The chain that is linked and 
soldered in links of two together at the joint is good 
enough for long pieces, but where you are cutting up the 
chain it is obvious that there will be a waste. It is quite 
within the scope of the average shop jeweler to take this 
chain and insert a few little links of his own making and 
turn out a dainty little neck chain. 



i68 



HOW TO MAKE JEWELRY. 



A few patterns are here shown of simple but effective 
design, very easily made. Fig. I is very fine round wire 



6 






*. 





V 




wound on a flat arbor which is rounded on the edges, the 
links soldered and twisted as shown at B. Fig. 2 is two 
scrolls soldered together. Fig. 3 shows a couple of 



HOW TO MAKE JEWELRY. 169 



scrolls soldered in a pointed oval ring; Fig. 4 is a half- 
ring in a frame ; Fig. 5 consists of rings with a shot cen- 
ter; Fig. 6 is a coil soldered stiff with connecting rings 
soldered on each end, and Fig. 7 is a plain, smooth, round 
wire. There are a number of fancy wire draw plates 
which furnish an infinite variety of patterns ; some of 
these may also be made by drawing up round wire to 
the desired thickness, cutting into suitable lengths and 
soldering together in threes or fours, making the corru- 
gated or ribbed link. 

Another touch of character is given to the neck chain 
by making the front a little different, altering it so that 
a' little drop or piece of chain suspends from the neck 
piece. This in one jump raises the title of the heretofore 
modest necklace to that of "Sautoir." 

Incidentally, the "Sautoir' will sell at a somewhat 
higher price and out of proportion to the slight increase 
in cost of making. Fig. 8 may be made out of either 
round or flat stock. The flat is a little disc with the cen- 
ter cut out in the press, which when lapped and finished 
bright shows up well. Figures 9 and 12 are three round 
wire rings connected, the first having a stone or pearl in 
the center. Figures 10; 11, 13 and 14 are little screw 
edge scrolls and look best finished Roman color. 

In finishing these in Roman the work is stripped in the 
solution after soldering, well scratch brushed with a 
■ steel brush and put into the gilding solution without any 
further polishing. This will produce a bright Roman, 
not unlike acid coloring. These are all simple designs 
and are here shown as suggestions to the reader who may 
wish to make up a few fancy drop "necks" or sautoir 
effects for his stock. The spring rings and swivels may 
be purchased from several good makers. 

The Newark factories still make a great deal of rope 
chain in its various sizes. The links in some instances 
are made in Providence and sent on to Newark for link- 
ing, charging and soldering. Girls, after a few months, 
become expert in linking up this very ornate and graceful 
chain, an expert linker making as much as seven feet a 



170 HOW TO MAKE JEWELRY. 

day, which considering there are some 85 links to the 
inch, is "going some." The girls work in groups or 
teams, each team haying a foreman who stiffens the 
chain with iron binding wire, charges on the minute pel- 
lets of solder and "blows" it off. This is a tedious job. 
Every second link only is soldered, as otherwise a stiff 
chain would be the result. The corn chain is made of 
round links closely linked and soldered. The foxtail is 
machine-made. A curb chain is made by linking up the 
regular cable chain, fastening one end into a bench vise, 
holding the loose end with a pair of pliers and twisting. 
This last gets full of kinks and is not recommended. 

In making links for enameling the hollow wire is best. 
Fig. 15 shows a piece of enameled chain made of hollow 
wire drawn up out of 60 stock in dial screw gauge. The 
seam is soldered and then drawn down to the desired 
thickness, sawed off into lengths and little washers or 
caps soldered on the ends ; or, better yet, strips are turned 
off in a high speed lathe, leaving little edges on each end 
as a stop line for the enamel. This last is by all means 
the best as no solder is applied, and a sharper cleaner 
stop line is obtained. 

A silky effect is given to transparent enamel by groov- 
ing the link with a lining graver while in the lathe. Other 
effects are secured by engine turning or by "wriggling" 
with a flat bottom graver. Pearls are let in chain to en- 
hance the beauty of a necklace; an inexpensive method 
of attaching them is to run a wire through, bend an eye 
on each end and twist a little of the wire to prevent its 
pulling out. Another and better way for larger pearls is 
to run a hollow wire through, having ring on one end 
and tapped on the other for a screw wire which is 
screwed in, this having a connecting ring on its end also. 
To prevent it from unscrewing easily, heat and put in a 
little pearl cement or gum mastic. 



HOW TO MAKE JEWELRY. 



171 



CHAPTER XLII. 



MAKING FLOWER WORK. 
Flower Designs are Always Staple — Few Tools Necessary 
for Successful Competition — Details of the Pansy — Mak- 
ing the Plaster Form— To Soften Modeling Wax — Setting 
Up for Enameling — Cheaper to Buy Findings than to 
Make Them — Good Work for Apprentices. 

CERTAIN designs or patterns in jewelry will always 
be staple, and of these none will endure longer 
than flower work. There is always a sentiment, 
real or fancied, in connection with the gift or purchase 
of a piece of jewelry of which a pansy, clover, violet or 
other flower forms the design. Aside from this a flower 
pin is a most practical ar- 




Fi* »• 



tide, as it may be enam- 
eled to match the one 
blooming in the garden, 
black for mourning, or 
the various tints and 
shades of purple to lav- 
ender, and finally may be 
made Roman or rose 
color. The average 
flower pin is an inexpen- 
sive design in the mak- 
ing, and the value shows 
up well, as the work on 
the back is very little. 

As is well known, all 
manufacturing j e welers 
making brooches, scarf pins, earrings, etc., make flower 







172 



HOW TO MAKE JEWELRY. 



jewelry and are equipped with all known labor-sav- 
ing devices ; nevertheless, it need not deter the jew- 
eler who has only a pair of fiat rolls and a melting fur- 
nace, from making this line of goods and competing suc- 
cessfully. There are any number of shops making the 
finest of goods to-day who for lack of space or 
other reasons make all hand work. Some of the finest 
models of the English double violet are sawed out by 
hand. The writer gives here some practical tips on the 
making of flower work. 

Taking up the making of a pansy we look at design 
No. 1, shown herewith. This is five separate petals sol- 
dered together in a plaster of Paris form. The design 
is first transferred onto brass and the petals sawed out. 
Three shapes only are needed as the four top petals are 
rights and lefts. The brass should be rolled a little hard, 
about 60 points thick in the dial screw gauge ; after you 
get them out a second set of brasses should be cut out, 
annealed and dapped up to shape. This second pansy is 
set up on jewelers' modeling or impression wax, and a 
collar of brass or sheet iron fitted around it; after oiling 
the brass pieces, plaster Paris, mixed rather thin with 
water, is poured in and allowed to become hard. After 
about an hour the plaster will have hardened, when it 



can easily be removed 
from the wax. It is then 
placed in an oven or an 
annealing furnace and 
baked. The brass form 
is then removed, boiled 
out in pickle and placed 
back in the form and 
soldered together. It is 
then braced and careful- 
ly put away to be kept as 
a reference and for the 
making of new. plaster 
forms. A large form 



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HOW TO MAKE JEWELRY. 



!73 



may be made stiff er by laying pieces of iron wire in the 
liquid plaster after it is poured over the pattern. A little 
salt is sometimes mixed in to make it harden quicker. 
The modeling wax purchased from the material houses is 
usually a little hard. It is made softer and more pliable 
by the addition of a little lard while in a melted state in 
a ladle or saucepan. Be very sparing in adding the lard ; 
a quarter of a teaspoonful will go a great way. 



When your brass pat- 
tern is judged to be cor- 
rect and the flat pieces 
are trimmed up as per 
any changes, you are 
ready to make any num- 
ber of pins of this size. 
Any size can be made by 
simply keeping the petals 
the same proportionate 
size. For instance, a 
size larger pin is made by 
sawing each petal out 




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ider ail 





round. The petals are 

dapped up to shape in a 

lead cake. Get a thick 

piece of lead from your 

plumber, or melt a lot 

of scrap in a ladle and pour into an old iron pot which 

has been slightly oiled. The steel punches are made 

from various thicknesses of rods purchased from the 

hardware store. A set of graduated ball punches is 

very useful. The knife edge, or other shapes may be 

filed up as occasion requires. To get the sharp vein, as 

in the centre of the petals of the clover, a copper or brass 

block is used. The impression is hammered in to a cer- 



i74 HOW TO MAKE JEWELRY. 

tain extent by the punch and additional modeling given 
to the block by carefully cutting out with gravers. 

For enamel work the stock used is 75 points in dial 
screw gauge, and in those designs showing a stone edge 
or border the stone strips soldered on are 50 points thick. 
Sometimes, as in the case of a large pansy, it is advisable 
to use stock thick enough for setting in the first place. 
In this case 120 points will be all right; the stone setter 
"lays" out the edge for the size pearls or stones to be 
set, then it goes to the engraver, who cuts away the cen- 
ter, lowering the surface about 40 points for enameling. 
Roman, variegated gold, or rose finished pins may be 
safely cut out of 60 point stock. The petals are first 
soldered together then wire braces connecting each petal 
are applied. The center at the back is filed flat and a ring 
or collet soldered to give strength and to act as recess 
for the setting. Where a pearl is to be pegged on a peg 
may be soldered right in the center. The strip "bridge" 
for the joint and catch is a piece of the same wire as the 
braces rolled flat and soldered across at a slight angle. 

The joints, catches, pin tongues, settings, etc., are pur- 
chased from the makers of jewelers' findings, and unless 
one is using thousands of these it is cheaper to buy than 
make them yourself, as a number of tools are used in 
making these parts and repairs are often necessary. The 
cost of purchase over the gold account is a mere trine. 

In sawing out petals always leave the stem a little long, 
as it will shorten somewhat in the dapping up. A good 
rule to remember is that you can always take off, where- 
as it is not so easy or economical to put on. Sometimes 
it has been found hard to get work for the apprentice 
boys. After they have learned to solder, give them a 
piece of silver and the brass patterns and let them saw 
out and dap up these flowers. It will be of great interest 
to them and is excellent training and experience. Silver 
jewelry to-day is enameled in all colors, also finished in 
all styles of color from the Roman to the antique. They 
will make either pins or hat pins and are staple stock. 



HOW TO MAKE JEWELRY. 175 



The clover styles of Fig. 2 are simply made by sol- 
dering four of the same size petals together. You will 
notice Fig. 4 is made of different sizes. The neatest 
violets are made out of five separate petals, although a 
skillful jeweler can get it out of one piece, as in Fig, 3. 
This is sawed out as shown at Fig. 3- A, dapped (after 
the petals are twisted a little) well in center with a small 
ball punch. 



176 



HOW TO MAKE JEWELRY. 



CHAPTER XLIII. 



MAKING A LINE OF PINS. 

Under Various Names a Most Useful Article of Jewelry — 
Always Find Ready Sale — Many Styles, Plain and with 
Stone Settings, Made by Thousands — A Few Good 
Sellers — Details of Manufacture. 

THE elongated pins, under their various titles : Bib, 
Handy, Waist, Collar, Dress, Belt, Girdle, Veil, 
and Automobile pins, are, in conjunction with the 
collar button and links, the most useful article of jewelry 
made to-day; anything new and strikingly original will 
always find a ready sale. In connection with this article, 
the writer has sketched a few of the most popular sellers 
for the past few years. 

Fig. 1 is the plain pin which is raised in the die out of 
as thin as 30 stock, dial screw gauge, for plain gold fin- 



ish., or of 40 stock for 
enameling. The better 
shops solder on a back, 
thus giving the appear- 
ance of a solid pin. 
The 10-karat houses 
usually strike up the 
front with a high edge 
or "wall," which is 
carefully filed on the 
extreme edge so as to 
turn over in the curl- 
ing tools. Two sets of 
dies are used, one 
plain for gold finish, 



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HOW TO MAKE JEWELRY. 177 

and the other with a 
stop line for enamel- 
ing. Where the jew- F(& /^. 
eler does not contem- 
plate making a big 
line of these pins, 
these two dies (for 
this length pin) will 
suffice in raising the 

plain blanks for pearl F/(+. oT 

o r stone ornamenta- 
tion, for engraving, 
etc. 

Fig. 2 shows a narrow, pointed style, with a pearl strip, 
50 points thick, soldered on, — on the front or outside, if 
for enameling, and inside the pin, if for plain Roman. 

In Fig. 3 the pearls are set in little caps, which are cut 
out and soldered on. In the case of enameling, the best 
quality, of solder must be used and the caps dapped up 
to fit the surface thoroughly and snugly before solder- 
ing. 

Shops making these pins by the thousands, in all the 
various combinations of pearl trimming, colors of enamel, 
and in sizes from ^4 mcn to 3 inches or longer, have dies 
for nearly every style. This, it will be noted, is a most, 
expensive undertaking, and would certainly not pay un- 
less the output was large. 

In setting pearls, as in Fig. 2, do not use any smaller 
than No. 5 half-pearls, as those smaller than this size in- 
variably turn black quickly. It is much better to raise 
gold beads. In Fig. 3 a number 8 or 9 half-pearl is a 
good size, although smaller may be used, as in a shorter 
pin it is advisable to have the center pearl a size larger. 
Fig. 4 shows a spray of leaves soldered on to a frame. 
The stone boxes in all the regular staple sizes may be pur- 
chased from setting makers much cheaper than the 
smaller shops can make them. The leaves are cut out, 
and may be bought also. 



178 



HOW TO MAKE JEWELRY. 




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Fig. 5 is another popular pin. These pins in the 2-inch , 
length are belt pins. They are made from about iy$ 

inches long up to five 
inches, which is the 
veil or auto pin. The 
leaf or ornament is 
set with pearls, dia- 
monds or other 
stones, or enameled 
in the various opaque 
or transparent colors. 
Of the stones, the 
amethyst is the most 
popular and inexpen- 
sive. The Montana 
sapphire probably 
comes next. All kinds 
of stones are used, 
however. 

Fig. 6 shows a blunt 
or square end pin set- 
with three square cut 
stones and pearl 
paved. This style 
will admit of a great 
many combinations 
and lengths, the best 
seller being a set of 
pins in which a veil 
pin 2^2 inches long, 
a belt pin 2 inches, 
and two handy pins 
an inch and a quarter 
each are used. In making of this style first take a piece 
of gold 170 points thick and fit in your square stones 
so that they just rest on the edge, then solder a bezel 
around the outside, of about 40 stock, filing the bezel 
flush with the thick flat piece where the pearls are to 
be set, and leaving the bezel stick up to be pushed over 



r/Q. 9. 



F/<*. to. 




HOW TO MAKE JEWELRY. 179 



the cut stones by the setter. Leave a little wider than the 
width of the stone so that the setter can have some stock 
to wrap around the corners. The bezel should be deep 
enough so as to project from the back about as much as 
is left on the front. This applies to all work of this 
nature, crosses, etc. 

In Fig. 7 a thick knife edge or three-cornered wire is 
used. The settings are let in and well soldered, then 
pearl pegs applied between ; the bar is then sawed out in 
the settings, a joint and catch soldered on and the pin is 
made. In order to make a pin that will fit snug to dress, 
not stick up too high or "flop" over, the bar is filed three- 
cornered out of square wire and the settings let in as low 
as it is possible. This style of pin is easy for a modest 
little shop to make, as the setting, pearl caps, joints and 
catches and pin tongue may be bought about as cheap as 
any ordinary manufacturer can make them. 

Fig. 8 is made as Fig. 6, with a row of square stones 
set in a bezel down the center. Fig. 9 is a frame with the 
bars soldered across for stones or cut for enamel, leav- 
ing just enough space between for the square stone which 
is held in by four clamps that are soldered on. The bars 
should project over the edge of the frame so that when 
the clamps are applied the outside edge may be trued up 
flush with a file. This is a very effective pin and will ad- 
mit of any number of lengths or combinations. 

In Fig. 10 the pearl center is cut out so that a pearl 
peg wire may be let in for a tapered row of whole pearls. 
In making this kind of pin bear in mind that the square 
cut stones must be let in as far as possible so as to bring 
up the half-pearls to as near a level as the girdle of the 
stones. In Fig. 10 particularly, the whole pearl center is 
let down well, or the pearls in the outside strips and the 
square stones (particularly the center one) will present 
a sunken appearance. 

In making pins for enamel, as in Figs. 1, 2, 3, the joint 
is kept at least from one-eighth to three-sixteenths of an 
inch from the tip so as to avoid chipping of the enamel 



i8o HOW TO MAKE JEWELRY. 



in the pinning up. Of course, in the longer pins the dis- 
tance may be more. It may be of interest to know that 
during the rush on the "merry widow" pins, from fifteen 
hundred to two thousand of them were made every day 
for several months by the creator of this pattern in 14- 
karat stock. As before stated, the bib or belt pin is re- 
garded as a necessary article, and the man who comes 
along with something attractive and reasonable in cost 
will get business. 



HOW TO MAKE JEWELRY. 181 



CHAPTER XLIV. 



HORSESHOE JEWELRY. 

Points on Making This Popular Pattern — Two General Out- 
lines Used — Good Luck Emblems in Black — Solid Stock 
vs. Hollow Work— Cutting Out Blanks— Must be Ab- 
solutely True— Wire Work — Setting With Pearls. 

'HP* HE horseshoe motif in the making of jewelry is 
more popularly known than that of any other de- 
sign. Though the passing of the horse to a cer- 
tain extent, and the stringent laws with reference to bet- 
ting at the race tracks have somewhat lessened the inter- 
est in horse jewelry in general, yet the shoe will always 
he a ready seller, by reason of its graceful simplicity of 
outline, the practical uses in applying other ornamenta- 
tion, as flowers, sunbursts, or other fancy centers, and 
above all, the sentimental tradition of its bringing good 
luck to its wearer. No jewelry store would be considered 




*»-4 f---" 6 



as having a complete stock that did not carry at least a 
half-dozen patterns of horseshoes. 

In the manufacture of shoes, two outlines, as shown in 
Fig. i and Fig. 2, are used. Fig. 1 is a perfect circle on 
the outside, the inner line nearly so, slightly tapering to 



1 82 HOW TO MAKE JEWELRY. 

the outer line at the ends. Fig. 2 is called the egg shape 
shoe, and is probably the most generally used. This is 
made by first describing two half -circles to the dotted 
line, then continuing the lines on down by using A, A as 
centers to describe each opposite outside line, and B, B 
as centers for the inside edge. These two outlines of 
shoes of course are altered to suit the individual, some 
like Fig. 1 just a little off the round, while others pre- 
fer Fig. 2 rounded just a trifle more, or the ends not 
quite so long, etc., etc. 

Shoes, as we know, are made in all sizes, styles and or- 
namentation, even being made in black enamel, both plain 
and set w T ith diamonds, pearls, or other gems, these find- 
ing ready sale as mourning jewelry in the finest stores. 
The writer has never quite figured it out whether these 
black shoes are worn as emblems of good luck at the de- 
parture of the deceased, or as a hope of making another 
lucky catch. We felt the limit had sometimes been 
reached when customers would order the joint and catch 
put on the reverse way in having black shoes made to or- 
der, so the points would stick up to keep the luck from 
''running out." However, we digress somewhat. 

It has been and is a matter of question, with makers of 
shoes as well as other work, whether it is cheaper in the 
long run to raise work hollow out of thinnest possibl? 
stock, soldering on backs, or to raise the article solid. 
In the writer's opinion, the larger sizes should be raised 
hollow for plain gold, or where nails or stone pieces are 
to be afterwards applied, but advises that all scarf pin 
sizes be raised solid. The few cents' worth of extra gold 
is more than offset by the labor in making hollow pieces, 
the breaking of forces, etc. Pins one and one-half inches 
in diameter are raised out of 40 point stock in dial screw 
gauge. In any smaller size for enameling this gauge 
should be used, or thicker for large sizes. As thin as 20 
points may be used for plain gold, while 30 points is about 
the average thickness for scarf pins. 

The plain blanks for setting, or paving all over with 



HOW TO MAKE JEWELRY. 1.83 

half-pearls, are cut out with two sets of cutters. The out- 
line is first cut out, the cutters changed and the blank 
placed in the press on a cutter having a gauge plate 
screwed on the face bearing the outline of the shoe. The 
blank fitting snugly in this, the center is now cut out and 
the shoe is ready for soldering on joint and catch or pin 
Stem. Any thickness of stock may be cut out with two 
sets of cutters. Certain small hollow sizes of very thin 
stock may be cut out by making one cutter. About the 
thinnest stock used for pearl setting, unless reinforced on 
back by wire or other trimming, is 155 points. That used 
for small brooch sizes begins at 170 points, running up 
as high as 300 points in extreme sizes. 

An excellent 14-karat stock for pearl pave is: Fine 
gold, 14 parts ; fine silver, 7 parts ; shot copper, 3 parts. 
A fine 10-karat is composed of : Fine gold, 100 parts ; 
silver, 60 parts ; Guinea alloy, 60 parts ; copper, 20 parts. 

In sawing out shoes first cut a pattern out of hard 
brass of about 60 points thickness. If the pattern is 
traced on from design, true it up with dividers before 
sawing out. A firm may not find it pays to make dies and 
tools for certain extreme sizes ; a brass pattern may be 
used for years if kept properly. In marking on the gold 
from the brass pattern leave the gold black from the an- 
nealing furnace, as the outline can be seen much better ; 
no matter how true your brass may be, go over the gold 
outline also with your dividers. There is many a shoe 
sawn out with "shoulders" or points. The marking point 
may not always be held at the same angle in going round 
the brass form and a hump sticks out here or there. A 
shoe is nothing if not absolutely true. Also learn to train 
the eye in accuracy. Do not depend altogether on tools. 

Wire or knife edge work is bent and annealed on sheet 
iron forms. These sheet irons should be drilled all over 
as much as possible to facilitate heating and also as a 
means of tying on the iron binding wire. The twist wire 
pins, as wire bent in rope form around whole pearls or 
settings for stones are called, are bent or braided over 



i8 4 HOW TO MAKE JEWELRY. 

steel pins securely fastened on a sheet iron plate. This 
plate in turn is secured to a wooden block which may be 
held in vise. After the pin is shaped, unscrew from the 
wooden block and anneal on the form. When cool re- 
move the pin from the form and the shape will be re- 
tained. 

Whole pearl shoes, where pearls are of one size, may 
be made by using a regular peg gallery strengthened by 
fitting it over round hollow wire with the seam opened 
enough to let in gallery, which is soldered to the hollow 
wire at base of pegs. The wire is first cut the right width, 
drawn over copper, bent to exact shape and the copper 
eaten out in a solution of equal parts nitric acid C. P., 
and water. In io-karat work use one-third acid to two- 
thirds water. In small work where hollow wire is not 
large, the piece may be soldered on straight and after- 
wards bent into shoe shape. 

Another way of making whole pearl shoes, especially 
where the pearls graduate in size, is to bend up a solid 
piece of square wire, mark on spaces and drill about half- 
way through, or just enough to stick in peg for soldering. 
A great many jewelers make the mistake of drilling all 
the way through, trusting to the soldering to fill up and 
make a good job. As a matter of fact, pin holes develop, 
or the solder shows so the job is generally unsatisfactory. 
The round peg wire being forced in the hole it oftentimes 
happens some of the pegs drop out, the solder not having 
flushed through, and this does not show until the pin has 
been polished, pinned up and perhaps a number of the 
pearls already cemented on. 

As before remarked, the hole should extend about half- 
way through and square peg wire used, for the reason 
that a little space will be left at the hole for the solder to 
run in and take hold. Another good reason for using 
square wire is that it may be twisted, thus affording extra 
clutch for the pearl and cement. After drilling, the pin 
should be well annealed and boiled out in pickle to re- 
move all traces of oil or grease. 



HOW TO MAKE JEWELRY. 185 



One house making whole pearl jewelry does not drill 
for pegs at all, simply standing the pegs on the frame by 
using gum tragacanth mixed up with the borax. This is 
a quick way, but does not make as good a job as drilling, 
as the hole being slightly countersunk, the pearl fits more 
snugly into the frame. 

In soldering on joint and catch be sure to solder enough 
above center of gravity, so that pin will not "rock" or be 
"top heavy" while being worn. 



1 86 HOW TO MAKE JEWELRY 



CHAPTER XLV 



THE MALTESE CROSS IN EMBLEMS. 

A Sure Way to Get Results — A Popular Shape in Badge 
Work — Perfectly True Form the First Requisite — Flatten- 
. ing the Plates — Cast Pieces for Heavy Work. 

DO you know how to make a Maltese cross? No? 
Why, just pull its tail. This merry quip has seen 
active service for a great many years, and will 
undoubtedly be pulled off for a number of years to come 
in the emblem shops. As is well known, in Masonic 
jewelry the Maltese cross is used extensively, and the 
shape, with its possible modifications is the motif, in a 
great deal of badge work. To make a mounted or hol- 
low cross get a piece of sheet iron about the thickness of 
a half dollar, file two sides at right angles, using a steel 
square to true up with. Then mark off the other two 
sides with the dividers, saw out and file a perfect square. 
Everything depends on the iron form being absolutely 
true ; a cross is nothing if not true. 

Presuming we are making a one-inch diameter cross , 
the form is made a little smaller to allow for thickness of 
stock, which should be about 40 points dial screw gauge. 
See that edges of the form are vertical and file off cor- 
ners so as to permit soldering with less heat. The iron 
form is drilled full of holes for the same reason and also 
for convenience in tying on iron binding wire. See Fig. 1. 

In preparing the bezel stock as shown in Fig. 2, round 
wire is rolled flat or strips may be cut off in rotary or reg- 
ular hand shears. The jointing should be carefully made 
so that the bezel does not shift or fall over in subsequent 



HOW TO MAKE JEWELRY. 



187 



soldering on of the back and front plates. The strips 
are left a little long ; first tie on one strip then shove next 
up against it and so on. Use hardest possible solder. 
Having gotten our frame properly made, boil out in pickle 





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W 



Ficr. £ 



and solder on to plate using an easier solder. The arms 
or corners are made of the same stock as the bezel and 
are shaped up on the end of an old file, which is filed to 
desired width and nicked in the end. This file is also 
used as a force, if sharper angles are wanted, by filing 
out a slot in a steel block. 

Fig. 3 shows how the inside is cross-lined and circled 
to get the corners absolutely in line and to same point in 
center. Posts, hollow wire, or other stiffening supports, 
are also soldered in center to keep both sides flat and pre- 
vent a sagging or sinking in at the center. The plate is 
sawn out if onyx is to be fitted in, or other openwork is 
wanted. At all events, be sure to saw out plate in corners 
before soldering on back plate. After applying this plate 
and making sure the seam is well soldered, the cross is 
carefully filed up, as in Fig. 4. Keep the arms narrow 
or you will have too much open space and not enough 
cross. 

Machinery is now used in factories making these goods 
in rolled plate, etc., whereby the frame is made complete 
in one piece, but the 14-kt. shops, by reason of the nume- 
rous individual orders as to sizes, still continue to make 



i88 



HOW TO MAKE JEWELRY 



everything by hand. The front and back plates are made 
of fairly thin stock from 35 to 40 points, and are made 



toQ. 3 


v- 




1 •>* 


^ 




perfectly flat before soldering to the bezel. This is done 
by getting two plates of steel with one surface flat and 
smooth, and laying gold plates in between brass or cop- 
per outside plates, to prevent possible scales burning on 
the gold. Then place the steel plates outside of all. firmly 
bind with heavy iron wire and anneal red (dull). Re- 
move and squeeze in a vise while still hot. 

Heavier gold plates are flattened between red hot steel 
blocks. The plates are laid on one block, as many as will 
cover it at a time, and the other red hot die or block 
placed on top. In a moment or two the plates will be red 
hot, when gently tap with a hammer, lift off the die, re- 
move plates and place others on. A number of pieces 
may be flattened before the dies cool off, when, of course, 
they are reheated. The dies should never be allowed to 
get too hot, as gold is apt to be melted or burnt on them ; 
then again the die is being ruined, gets scaly, etc. A dull 
red is plenty hot enough. 

Most emblems are now inlaid on work by passing plates 
through roll dies. These rolls have the emblems engraved 
on them so that a final touching up is all that is necessary 
on the part of the engraver or enamel cutter. 

Thick, heavy, and massive parts are usually cast first 
and then finished by hammering in a die. The large 
double eagles are gotten out in this way. Other work, as 
compass and square for charms, is made heavy by first 
cutting out of as thick stock as the cutter plate and punch 



HOW TO MAKE JEWELRY. 189 

will stand (about 150 points in 14-kt.), and soldering two 
or more together until the desired thickness is attained, 
when sides are carefully filed up, scraped and polished. 
Sometimes in special orders a very thick charm is to be 
sawn out of one piece of gold. This, of course, is at a 
special price, and great skill is required to get both sides 
alike. The chief requisites in making emblem jewelry 
are to have squares, triangles, crosses, etc., absolutely true 
and perfectly flat, so that there is no danger of going 
through in the final lapping and finishing. 



190 



HOW TO MAKE JEWELRY. 



CHAPTER XLVI. 



SOME ATTRACTIVE NOVELTIES. 

Bar Pins and Bracelets with Ribbon Background — Ribbon 
Plaques — Scarf Pins with Stone Backs — The Arrow Veil 
Pin — Ribbon Bows — Plaque Frames for Stringing 
Pearls. 

HEREWITH are shown some sketches of novelties 
in jewelry. As before noted, the man who can 
come along with some new, practical ami appeal- 
ing novelty will get business — sometimes the producer 
does not get it, but, as our old friend, Rudyard Kipling, 
says, "That is another story." 

F/q. 1 





Fig. 1 shows an 
openwork bar pin, 
in which ribbon is 
used as a back- 
ground. These 
pins are made in 
all sizes from one 
and a quarter 
inches to two and 
a half inches and 
longer. Complete 
sets are also made 
comprising a 
bracelet and pins 
of various lengths. 
This pattern is 
made in 14-karat 
gold ; also in plati- 
num front and in 
all platinum. They 

are set in diamonds, whole pearls, and half-pearls. 

Vari-colored ribbons are used so that the wearer may 



^m^^^^^^^^^^ 



F/<*. 2 



m\mM*mmimm 



HOW TO MAKE JEWELRY. 



191 



Fi<* 3 



have different appearing pins to match the dress. 
The ribbon is easily changed by unfastening the 
little hasp at the back (see "B") and lifting up 
the entire back, which works on a joint. All styles 
of designs are used, tools and cutters being made 

for those there is any demand 

for. Fig. 2 shows an effective 
mounting for three stones, and 
"B" shows a lower priced ar- 
rangement for holding in the 
ribbon, doing away with the 
labor on the hinge and catch. 

Fig. 3 is a ribbon plaque 
made on the principle of the 
drum. The ribbon is stretched 
over an inner ring and held by 
another ring closing over. The 
ornaments are then attached by split pegs. This is best 
done with the aid of a cork cut smooth and flat. The 
back ribbon is then added, and, lastly, the outside flange 
ring. Properly put together these make very effective 
and low priced pendants. They are made in various 
styles and sizes, in gold, platinum, and diamonds. 




&<* + 





f'$. & 




Figs. 4, 5 and 6 are styles of scarf pins with open cen- 
ters which are filled up by inserting flat slabs of stones 
from the back. These stones are cut from onyx, lapis 
lazuli and other semi-precious stuff, and are sliced as thin 



192 



HOW TO MAKE JEWELRY. 



&9.? 



as possible. A few clamps, of either fine gold or green 
gold, carefully pressed over holds the stone in place. Fig. 

5 shows the center drilled 
through to hold a tube in 
which a diamond or other 
stone is set. 

>v«.9 









Fig. 7 is an arrow veil pin 
—they have also been worn 
as scarf pins. These veil pins 
have been made in a number 
of sizes, in plain gold, pearl 
set, diamonds, enamel, and 
infinite combinations. 

B shows the back with the slot and snap connection. 
C shows the barb detached ready for insertion. The 

prongs that hold the 

barb should be made 
out of hard wire ; 14 
parts fine gold and 5 
parts each, fine silver 
and copper is good ; they 
are soldered strongly, 
only at the end o>f the 
feather, so as to allow 
all the spring possible. 
The slot is made out of hollow wire drawn with a little 
smaller hole than the diameter of the wire stem. Then 




F/Ct. // 




HOW TO MAKE JEWELRY. 



*93 



/V9, <A 



after soldering on the back of the feather (or haft) take 
and drill carefully to permit of pointed prong just going 

i n enough t o 

snap. 
Figs. 9, 10 and 

ii are ribbon 

bow knots. The 

first two are 

made by bend- 
ing up flat wire 

over sheet iron 

forms. Fig. n 

is sawn out of 

about 1 20 stock, 
pearl setting, and lit- 

soldered across the 
back of all to hold the ribbon. A little gold eye (ring) 
soldered here and there and a stitch or two of thread also 
helps at times. 

Figs. 12 and 13 show effective plaques where frames 
are employed to permit of whole pearls being strung. 
These are very pretty and dainty when properly made- 
and finished. Fig. 13 shows the center rigid with a dia- 
mond shaped sapphire or other stone center. 




pale gold for 
tie wires are 




194 



HOW TO MAKE JEWELRY. 



CHAPTER XLVII. 



MAKING EYEGLASS FRAMES. 
The Round Shape or "Oxfords" Becoming More Generally in 
Demand — Proper Stock to Use — Inserting the Joint 
Springs — Dimensions for Stock Sizes — Have "Sizer" for 
Cutting Lenses — Alloy for 14-K Frames and Springs. 

ROUND shaped eyeglasses, while comparatively un- 
known outside of the store selling to people of 
means, yet are coming into more general use, 

and at least two manufacturing concerns in New York 
are making practically nothing but "Oxfords," as they 
are termed, and lorgnettes, or, to be correct, "lorgnons." 
Fig. 1 shows a drawing of an Oxford eyeglass which 
folds over and snaps at the handle and may be placed in 
pocket or attached to a ribbon. Fig. 2 does not fold, is 




Folding Oxford. 

much simpler in construction and is usually dangling on 
a ribbon ready for instant use. 



HOW TO MAKE JEWELRY. 



!95 



The glasses are cut in three sizes, and when mounted 
are 40 mm., 42 mm. and 44 mm. in diameter. Special 
diameters are made to order, ladies' sizes running as 
small as 35 mm. in diameter over all. The frames are 
made of half hollow wire tubing and are wound on a 
hollow iron mandrel well covered with paper. The 
wire should not be annealed before winding. After 
securing well on mandrel with plenty of iron binding 
wire, carefully anneal and the eyes or frames will be 
formed in a coil. 

The joint is covered by the screw hollow wire, Fig. 1, 
and a knuckle joint, made of about 75 points dial screw 
gauge thickness, and same diameter as hinge joints A, 
is soldered up against it. A steel wire coil spring is 
inserted in each of the hinge joints and the bridge, or 
flat connecting nose spring, B, is made of gold, well 
rolled and not annealed, to give further elasticity. The 
steel wire should be best piano wire, and when a 




Simple Oxford, 

good size, temper, etc., is found it is well to lay 
in a stock at once, as it does not always run well. 
Thicker wire is used in the right-hand glass, as this 
spring, in addition to opening, also has to carry the 
other glass. To insert, one end of the steel coil is 



196 HOW TO MAKE JEWELRY. 

secured in a slot next to rivet in center of the joint, and 
the other end is drawn snugly through a hole at side 
and hooked over. There is quite a knack in this and 
much patience and experience are required. One man 
will "spring" up an Oxford in a half hour and another 
will waste half a day and get nothing in the end. 

The hinge joint is made with tools and goes through 
several operations. The spring, B, is inserted in slotted 
ends at A and riveted with two rivets, as shown. The 
screw hollow wire is first cleaned out with a twist 
drill and then tapped and sawn through to admit of 
glass being put in. The saw cut should be somewhat 
V-shaped, as shown. To make a good joint and pre- 
clude possibility of screw coming loose it is best to 
have thread on both halves of hollow wire. If a saw 
is used that will take up space of one thread when 
glass is put in, the two ends will fit close. The easier 
plan is to open up side which has head of screw, simply 
depending on other half to hold. This way admits of 
screwing up close, but there is more likelihood of screw 
loosening. 

The handle, D, is struck in two halves out of 35 stock 
and is fitted with a U-shaped piece to act as a runaway 
for folding eye. The click piece works on a coil 
spring and engages the mouthpiece, E. It is well to 
bear in mind, in making handles, to keep width as 
narrow as possible or there will be trouble in getting 
them to fold neatly. 

There are a number of clips or offsets in use, all 
more or less patterned after other well known eye- 
glasses, but the one that seems to find most favor is 
the so-called "loose offset," as shown at C. This being 
connected by only one post will permit wider latitude 
in bending and twisting to fit the individual customer. 
G shows a front view of the same offset for which 
application for a patent has been made. 

In making Oxford eyeglasses for stock, the distance 
between centers of lenses is kept at from 58 mm. to 60 
•mm.; with a 40 mm. frame, the space between the two 
frames is about 21 mm., and a 25 mm. space for 44 mm. 



HOW TO MAKE JEWELRY. 197 

glasses. The space for the nose is ordinarily made around 
13 mm. Of course, in special orders all lengths or dis- 
tances are specified, as a customer might want more offset 
to keep glasses from touching sides of nose or brows, 
or less millimeter space, posts higher or lower than 
regular, and so on. 

All stock glasses are neutral and care must be had 
to see that both eyes are exactly the same size and 
that glass is tight and does not turn after screwing up 
tightly. In getting glasses cut, have a sizer made of 
same thickness and width of eye wire. Do not simply 
order by diameter only. For instance, va 40 mm. Oxford 
takes about a 38^4 mm. glass. The glass cutter would 
get out a full 38^/2, or his gauge may not be exact, or 
the bevel edge cut a little too blunt or sharp. Send a 
sizer along each time and have each glass fitted to it. 
A split handle is soldered to ends and it is an easy 
and sure method. 

The eye wires in Fig. 2 may be made higher than 
the other, as there are no springs or joints. Pieces of 
plate bent double are soldered on at A and the spring, 
B, is fitted in and riveted as shown. The screw hollow 
wires are soldered at the offsets and a small oval wire 
ring soldered on for the ribbon. An excellent 14-karat 
alloy for the frames and spring or nose pieces is : fine 
gold, 100 dwts. ; silver, 24 dwts. ; copper, 48 dwts. The 
offsets and handles, points, etc., may be made of a 
more malleable alloy consisting of fine gold, 56 dwts. ; 
silver, 8 dwts. ; copper, 12 dwts., and pale Guinea alloy, 
20 dwts. 

A number of Oxfords are made in platinum and in 
the frames a 20 per cent iridium platinum is used. 
This makes a frame almost as hard as steel, and by rea- 
son of the thinness of the stock used keeps down the 
weight, which has to be considered, not alone for cost, 
but in keeping the glass as light as possible. As it 
is, they are more or less heavy and clumsy and cannot 
be worn for any great length of time. In the platinum 
Oxfords, Fig. 1, the bridge spring is gold and is nickel 
plated, this being found the most practical method of 
manufacture. 



198 HOW TO MAKE JEWELRY 



CHAPTER XLVIII. 



HINTS ON SOLDERING. 

Hard Soldering as Distinguished from Soft Soldering — 
Judgment Required to Select Proper Solder for Average 
Repair Job — Composition of Solders — Repairing Rings — 
Soldering Enameled Jewelry. 

WHAT is hard soldering as distinguished from 
soft soldering? The average storekeeper will 
reply that it is a process whereby the job to be 
repaired is heated red-hot and joined with gold or silver 
of a quality a little lower than the article itself. This is 
true as far as it goes. The highest standard is reached 
when a piece of jewelry is sweated together with a solder 
of which the component parts are of same alloy and in 
about the same proportion, and just enough more of the 
baser metals added to make the solder about two karats 
lower quality. A solder can also be made of same quality, 
as, for instance, certain hollow work is raised and filled 
so as to assay plump karat quality. This solder is brittle 
and can be used for no other purpose. A solder one karat 
baser can also be used, but there is danger of burning or 
blistering work. 

In large jewelry factories, where gold is alloyed, sol- 
der is also made for the work, and knowing alloys used, 
it is an easy matter to make solder, but the shop doing all 
kinds of repairing on customers' jewelry, possibly a shell 
brooch made in England, a bangle bracelet of unknown 
quality, or a ring stamped 14-karat and nearer 12-karat, 
or even on goods that are plump, as per stamp, it is a 
matter of judgment and experience as to what solder to 
use. Sometimes a 10-karat solder will not run before a 
stamped 14-karat job does and the solder is condemned. 
On the other hand, a 6-karat or 8-karat solder does not 
make as fine a job, and of course tarnishes quicker. 



HOW TO MAKE JEWELRY. 199 

The higher grade solders are made of gold, silver and 
copper, using a few grains of zinc or cadmium where no 
enameling is to be done over joint, and if these hard run- 
ning solders are applied to a repair job made of an alloy 
of gold, silver, copper and one of the various yellow, red 
or other alloys on the market, the danger of melting the 
job is more or less in evidence in proportion to amounts 
of alloys used ; for instance, a 14-karat gold of 14 parts 
fine gold, 3 parts silver, 4 of copper and 3 of alloy, would 
melt easier than a 14-karat alloy of 14 fine gold, 2 silver, 
5 copper and 3 alloy. 

These different alloys are used by manufacturers to 
get certain results. An alloy of 14 pennyweights fine 
gold, 3 pennyweights 8 grains silver, and 6 pennyweights 
16 grains copper, makes an excellent hard, tough gold for 
knife edge or wire work, frames for eyeglasses, etc., but 
would knock the life out of dies in comparatively short 
order, so that for the latter one of the formulas contain- 
ing alloy is used, these being more malleable and work- 
able. The least number of base metals in alloying, the 
less danger of melting, and don't use same weights or 
quantity. A 10-karat gold of 10 parts gold, 7 of silver 
and 7 of copper will make a hard spring gold, in fact, 
brittle almost, but will melt very easily. Alloys of any 
karat where metals are of the same proportion or nearly 
so, are used only for snaps for necklaces, bracelets, etc. 

Where possible, jobs to be soldered should first be 
tested, using the needles. By applying pure nitric acid, 
gold less than 12-karat usually turns black, and by adding 
a few drops (about 6) of muriatic acid C. P. to an ounce 
of nitric you will get a much more powerful acid which 
will turn 18-karat a brown color. 

Try best solder on repair work, and if it will not run 
let cool, re-borax lightly and add a tiny pellicle of a lower 
grade solder. This will usually melt, carrying the other 
along with it. The work must be absolutely clean and 
the joint well scraped or filed. See that there is no oil, 
beeswax, or other greasy substance on your files. In siz- 
ing rings, do not use beeswax on your saw. Just moisten 



2 bo HOW TO MAKE JEWELRY. 

with a little water or use dry. To make good joint, file 
V-shape slot in one end and file corresponding end taper- 
ing to fit snugly. Do not leave any space to be filled with 
solder; make a well fitted joint. In putting a piece in a 
ring to make larger, or replacing thin shank, the same 
method of fitting is carried out. 

The solder is applied to inside of the ring and well 
flushed through. The new piece of gold should be very 
little thicker than gold to which it is to be soldered, thus 
saving a lot of filing. A lot of labor can also be saved in 
the polishing, if after the ring is fine emeried, it is care- 
fully gone over with a burnisher. This tool can be of 
hard steel, an old oval-shaped file makes a good one, well 
smoothed off and polished on 4/0 emery paper. The 
ring only needs to be rouge-buffed in this case for final 
finishing. 

Diamonds, sapphires, rubies and emeralds may be 
heated red-hot without probable danger, yet it is good pol- 
icy to remove them before soldering. Where you decide 
to take a chance, cover well with boracic acid, heat slowly 
and let cool by itself. In boiling out do not run in cold 
water at once after pouring off pickle. For small repair 
work, the jeweler can easily learn to make his own sol- 
der. To make a 12-karat solder from 14-karat gold 
scraps, take 14 grains of the gold clippings, place in a hol- 
lowed out part of your charcoal block, and add 2 grains 
of silver (sterling) and 2 grains of brass, either wire or 
thin sheet. Well cover the brass especially with the gold, 
drop in a little borax or sal ammoniac, place small pieces 
of charcoal around to get better heat, and melt into a 
button, flattening while warm with a file or steel block. 
Hammer out with frequent annealings to desired thinness. 

To make about an 8-karat solder from 10-karat clip- 
pings, add 2 grains silver and 3 grains of brass to 10 
grains of gold. Any quality of solder can be made from 
any known karat gold in the following manner, viz. : 14- 
karat is 14-24 fine ; by adding to the bottom figure we 
lower the standard; 14 pennyweights of 14-karat plus 4 
pennyweights of alloy is 14-28x24 fine = 12-karat; 10 



HOW TO MAKE JEWELRY. 201 



pennyweights of 10-karat plus 5 pennyweights of alloy is 
10-29 x 24 = 8 7-29-karat ; 14 parts of 14-karat gold plus 
8 parts of silver and brass is 14-32 x 24 = ioj/2-karat for 
solder, and so on. 

Some of the prepared hard soldering fluids on the mar- 
ket are good, especially in soldering for enamel where pin 
holes are to be avoided, but for plain work a clean slate, 
bought for 3 cents at a stationery store, and a piece of 
borax well rubbed up with clean water, will answer just 
as well for a flux. Boracic acid is used to keep a polished 
color and may be applied by boiling article in the acid 
with water or by placing some of the acid in a bottle, cov- 
ering well with wood or grain alcohol ; shake well, apply 
with a brush and ignite over gas or lamp. This will keep 
color as well as any of the anti-oxidizing fluids for sale. 

In soldering enamel jewelry, prop pin up with iron pins 
so that enamel does not touch the coal ; use only a blue 
flame. A little practice will enable you to get this. See 
that no foreign matter is on enamel before heating. If 
white enamel shows a little smoky, it may be cleaned by 
rubbing with pumice powder and water. Frosted or 
etched enamel is re-dulled by dipping in hydrofluoric acid 
which has been weakened by carbonate of ammonia. In 
this case it is best to send to a regular enameler, as the 
operation is dangerous, and lead and rubber cups have to 
be used ; also a flue is needed to carry off poisonous 
fumes. 



2 02 HOW TO MAKE JEWELRY. 



APPENDIX. 



PRACTICAL HINTS FOR WORKING JEWELERS. 
Venice Turpentine for Polished Work — Coloring Soft Solder 
— Soldering Hints — Soft Soldering on Pearl Paved Work 
— Refilling Links and Repairing Link Chains — Attaching 
Metal Ferrules to Wood — Soldering Nests — Jointing 
Heavy Rings— The Stripping of Chloride Coatings — To 
Make Colored Gold Plating — How to Secure a Matt 
Finish— A Reliable Pearl Cement. 

Venice Turpentine — This is a soft soldering solu- 
tion made by dropping resin (obtained from your plum- 
ber or tinsmith for a few pennies) into spirits of turpen- 
tine, and leaving until dissolved. This may take a few 
days, until enough resin has been added to make solution 
the consistency of a syrup, or a little thicker, possibly. 
This soldering solution is used in joining polished and 
finished parts together, where it is not possible to do any 
further polishing, notably in assembling the different em- 
blems of a badge or medal. Take, for instance, a Ma- 
sonic emblem: the lapped, mirror finished Maltese cross 
is to have a keystone applied on one side and a Knight 
Templar cross with double eagle on the other. When it 
is impossible to attach these parts by any more riveting, 
they are soft soldered on. Bear in mind to have solu- 
tion thick. The solder will run only where the "Venice" 
is applied, hence there is no danger of smearing over 
work unless the solution is too thin and runs about. Af- 
ter soldering and before getting quite cool, the article is 
plunged into alcohol (either grain or wood), when any 
sediment is instantly removed and the article is clean and 
ready for shipping. 



HOW TO MAKE JEWELRY. 203 



To Color Soft Solder — After soldering, moisten by 
dipping a piece of wood into a solution of sulphuric acid 
1 part, water 9 parts, well rubbing over the part, which 
should be previously cleaned from all traces of soldering 
acid by well washing and brushing with clean cold water 
only. Touch with the freshly filed end of a piece of iron 
wire or nail and a red color will show. If a yellow color 
is now desired, after drying again moisten with the acid 
and touch with a piece of zinc. In larger work the ar- 
ticle is first thoroughly cleaned by dipping in a potash 
lye solution to remove dirt or grease, then brushed with 
a brass brush and dipped or painted over with a solu- 
tion of sulphate of copper dissolved in boiling water; let 
dry, moisten with acid as before and touch with iron. 
The above recipes are good for making a background 
for the final dip in the gilding solution, or even where 
it is desired to get a cleaner job. 

* * * 

Soldering Hints — In all jobs that come in for sol- 
dering be sure to examine the articles thoroughly before 
going ahead; see that no other parts are soft soldered 
near the broken place, which might be liable to become 
unsoldered and make trouble for you. Always see that 
the work is free from dirt or grease and that the cheaper 
rolled plate articles are not filled with cement. Scrape 
well the parts to be soldered, use only enough acid to 
moisten well, have the parts fit snugly ; do not depend on 
solder filling up crevices. In the case of cement filled 
jobs it is generally best to use a soldering iron. This 
iron is best heated by resting in a fork made of iron wire 
so that the point is in the gas flame. Do not allow it to 
get red-hot. Regulate your gas jet so that after the iron 
gets hot enough, it will stay at about a soldering heat. 
Solder as quickly as possible to prevent any heating of 
the cement and a possible squirting out of the same. 

In soft soldering tableware try all the parts of the ar- 
ticle before proceeding. Many a job has been a "dead- 
head" from simply taking for granted that the whole 



2o 4 HOW TO MAKE JEWELRY. 



piece was hard metal, just because a part of it was; af- 
ter going merrily along and blowing away there is a sink- 
ing in of the bottom or side, as the case may be, and a 
couple of hours' work (for nothing) is now confronting 
you. In repairing this kind of work, little strips of zinc, 
white metal, German silver, nickel, etc., can be used to 
advantage. Oftentimes a fracture obstinately refuses to 
solder; let it cool, scrape well, drop in a clean piece of 
metal and you will get a secure joint. Men who are ex- 
pert in repairing "lead" ware use the mouth blowpipe, as 
being the quicker way, but the average shop jeweler 
would do better to stick to the copper soldering iron. 

A good soft solder is made of 2 parts lead and 1 part 
tin ; a softer one is made by using more lead. It is gen- 
erally best to use the solder supplied by reliable supply 
houses, although it may be made by melting in an iron 
ladle over a coal fire and stirring well. 



To Soft Solder a Joint or Catch on a Pearl Paved 
Pin or Brooch — Where the space is limited, as in a sun- 
burst, first fit a plate, letting it run down at both sides, 
then hard solder joint or catch to the plate ; remove one 
or two pearls and drill a small hole through. A peg is 
soldered on to the plate, which is now carefully soft sol- 
dered to the brooch, using soldering iron. The peg com- 
ing through the hole is cut off and gently riveted, and 
the pearls reset. The brooch during the soldering should 
be wrapped in wet tissue paper, and if fearful of spoil- 
ing, it is best to remove a few more pearls at the solder- 
ing point. A knife edge job is done in the same manner, 
excepting that a rivet goes right through both sides of the 
plate piece and the knife edge wire, which being riveted 
on both ends like a pin joint, is made firm and secure; 
Where the surface will permit, use as large a plate as pos- 
sible, to which the joint, catch, or scarf pin is first hard 
soldered and polished, before soft soldering to the job. 
In all this kind of work the zinc muriatic acid is used, 
and if solder is moistened as well as other parts very lit- 



HOW TO MAKE JEWELRY. 205 



tie acid is necessary. To get a clean joint, first run the 
solder on the plate, scrape off scum and an excess of 
solder, then just moisten both parts to be connected, ap- 
ply a small pointed flame (or a soldering- iron) and as 
soon as solder runs cease blowing. There are a number 
of tweezers, pliers and other devices on the market for 
holding parts together, but whatever you use, be sure 
that solder doesn't run out and solder tweezers and all. 
At the same time be certain that a good joint has been 
made. Some repairers prefer, for a great many jobs, to 
use an alcohol lamp, holding work right in the flame. 
This is good, in that you can watch closely for solder to 
run, but is not so safe when the heat is required to be 
kept at the point of joining. 

In vari-colored gold or gilded goods, the acid is kept 
from running where it is not wanted by painting the parts 
with yellow ochre and water or whiting and water. In 
repairing an article that has been soft soldered in a num- 
ber of places, and there is danger of the whole thing 
coming apart, take fine iron binding wire and carefully 
bind so that none of the parts will pull or be detached 
in the soldering. This will oftentimes prevent a lot of 
trouble in fixing up cheap jobs. In taking in fine goods 
for repairing, the jeweler should endeavor to impress the 
customer with the desirability of having the article made 
as new ; if the charges should be more than he or she is 
prepared to pay, the soft soldering methods as given in 
this article may be used. 

* * * 

Refilling and Renewing Chain Links — The repairer 
is frequently called upon to solder a heavy curb or open 
link vest chain. Before accepting such a job examine the 
other links and you will find that probably most of them 
need renewing. The average customer wears his chain 
until it is worn to such an extent that a break occurs 
and he thinks it is only necessary to have it soldered. 
In a case like this show the chain to him and tell him it 
must be refilled with gold in order to put it in dependable 
condition. 



2o6 HO IV TO MAKE JEWELRY. 

Before proceeding, weigh the chain carefully, keeping 
a record, and weigh again after work is done so that you 
will know the amount of gold added. While good jobs 
are done by filling with solder only, yet a more durable 
job is made by fitting pieces of gold in the worn places. 
When the smaller rings of the chain are badly worn, it 
generally pays to replace them with entirely new rings, 
as the labor of refilling is more than the cost of the gold. 
The chain should first be annealed, boiled in pickle and 
the parts to be filled scraped. The solder should be cut 
in pieces just large enough to fill nicely, or a little more, 
perhaps, to allow for polishing. If solder is well flushed 
it will fill up the worn end of the link, so that after polish- 
ing the chain will look as good as new. 

In refilling worn swivels, spring rings, etc., be sure to 
first remove the springs inside and carefully boil out the 
parts in water and ammonia after pickling, to kill all acid 
before putting the springs back in. Chains of small links, 
as cable chains in form of necklaces, lorgnette or bag 
chains, when badly worn are best repaired by cutting out 
the weak parts and replacing with new sections. 

Of all chain patterns the one most botched in repairing 
is the rope or twisted design. The average repairer 
shoves the broken ends together and puts on a piece of 
solder large enough to solder a dozen feet, the result be- 
ing a stiff joint in the chain anywhere from a quarter of 
an inch to an inch and a half long, besides making an eye- 
sore of a job. The proper way is to first cut off the broken, 
jagged ends, and you will find two links soldered together ; 
file end through with a needle file, or a fine saw will do. 
This operation is done on both ends ; now link together, 
borax carefully, apply very thin and small pellicles of 
solder, and solder with small pointed flame. If properly 
done the chain will be flexible and as good as new. Be 
sure that chain is clean before soldering. 

In fastening connecting rings to the ends of rope chains 
the ring is opened to clutch the end of chain; borax the 
joint only, and after letting it dry, in order to prevent 
possible running of solder into the links of the rope, paint 



HOW TO MAKE JEWELRY. . 207 



with yellow ochre and water, being careful not to get any 
on the borax. If a quick pointed flame is used, however, 
there is little danger of solder, running elsewhere. Some 
jewelers first run a little solder on the end of chain, then 
file flat and place ring against the part. This is double 
soldering and takes more time. 

Another thing to advise a customer is, that in the re- 
newing of his vest chain it will finish a snorter length, as 
all the worn spaces will be filled up, thus bringing links 
closer together. It of course simply shortens chain to 
original length, but some customers get the idea that a 
link or two has been left out, and it is well to speak of 
this before rather than after the work is done. A chain 
of thirty links will take up an inch or more in refilling. 
In repolishing chains, unless the links are of the large, 
open kind, easy to get at with thrums (strips of chamois 
,or string), the most practical way for the storekeeper 
doing his own repairing, is to brush well on the lathe, us- 
ing powdered tripoli and oil, wash well in boiling water 
with soap and ammonia, or a lye solution, to remove all 
grease, etc. Then give a quick flash in Roman solution. 
This will give a yellow tinge to parts not reached in pol- 
ishing, and after finishing with rouge brush the chain will 
present a rich, highly polished finish. 

Before doing any hard soldering be sure to examine a 
chain thoroughly for any traces of soft solder. Some- 
times the more fancy chains have been repaired in this 
manner. 

* >!< * 

To Attach Metal Ferrules to Wood — To put fer- 
rules, or bands of gold, silver or other metal on pipes, 
canes, umbrellas, etc., first get the size by cutting a strip 
of paper of desired length and width. This strip may be 
a little longer than necessary, so as to lap over when 
shaped around pipe. Run your fingernail down the seam 
and cut the metal accordingly. Make a good joint, hav- 
ing ends come together flat rather than V-shape, and tie 
with iron binding wire, just tight enough to keep a joint. 
Borax well on inside and just moisten seam on the out- 



2o8 HOW TO MAKE JEWELRY. 

side; place on two or three pallions of solder and flush- 
well through. Boil out and round up on tapered mandreL 
Stock for ferrules should not be much less than forty 
points in dial screw gauge, and for square bands it should 
be a little thicker. An excellent cement for fastening 
them on pipes, is mucilage and plaster Paris, mixed to a 
creamy consistency. Work quickly, as this sets rapidly, 
and be sure the ferrule fits properly before applying ce- 
ment. 



Soldering Nests — Iron binding wire coiled, twisted, 
and somewhat hollowed in center, with a handle of 
thicker wire made by twisting four strands and bending 
their ends over the "nest," are an excellent soldering" 
stunt. These hold the heat and are used for all work not 
requiring a flat surface. Another one is made by placing 
a few layers of wire mosquito netting together and clamp- 
ing by the aforesaid iron wire handle. These admit of 
getting a flame all around and under the work, and beat 
the charcoal or asbestos block a mile, where clean solder- 
ing and well flushed work is desired, and besides, will 
outlast many charcoal blocks. 



Jointing Heavy Rings — To bring ends of heavy 
rings together, wedding rings, etc., where it is difficult 
with small facilities to get them to touch, wind heavy 
binding wire around the ring and twist it to draw tight, 
then anneal, and if not well mitered, run your saw 
through, repeating the operation until you get a clean 
joint for soldering. Remember that good jointing obvi- 
ates pin holes, takes a better polish and lessens chances 
of rebreaking. 



A Stripping Solution — All new solid gold work as 
it comes from the jeweler or from the enameling room, 
presents, after boiling out in the regular "pickle" — sul- 



HOW TO MAKE JEWELRY. 209 

phuric acid (commercial) and water, or "acid" — a weak 
solution of nitric acid and water, — a dull white or slightly 
greenish color. This is caused by the action of the acids 
on the alloys in the gold, the silver forming a chloride on 
the article. This coating is removed by hanging the work 
in a stripping solution as the anode, using a carbon plate 
as the cathode. To make the solution, mix fifteen ounces 
of C. P. cyanide potassium in one gallon of water and 
add thirty ounces of phosphate of soda which has been 
previously mixed in a little water; place this in a tank, 
heat up well and after the work has been well scratch 
brushed with a steel brush, hang it in ; run the current up 
to five or six volts, seeing that the connection is good; 
the article should be kept in motion, but not allowed to 
touch sides of the crock or the cathode, as by reason of 
the strong solution and powerful current, should it do so 
a "strike" spot would be the result. After a few mo- 
ments' immersion the work will show red and is ready 
for polishing. 

Goods that- have been enameled and subjected to a 
number of "firings," of course have a thicker coating of 
oxide and will take longer to strip. It is not advisable to 
leave goods in the bath longer than necessary to get a 
nice, clear, reddish color, as the solder will be weakened, 
and the article itself be attacked. This solution must be 
renewed by adding a little cyanide and phosphate of soda 
from time to time, or when it is noticed as not working 
well. The weights given here for all dry ingredients 
are Troy, and for the liquids the regular graduate is 
employed. 

By the way, in the stripping process the carbon plate 
(cathode) should be placed in a bowl of water after us- 
ing, and the gold, silver and copper deposited thereon 
during the stripping brushed off with an old stiff tampico 
brush. This water should be emptied into a glass funnel 
lined with filtering paper placed in a large pitcher; the 
precious metals will be left on the paper and as enough is 
collected, remove and dry for refining, replacing with 
fresh paper. 



2io HOW TO MAKE JEWELRY. 

Colored Gold Plating — In making colored gold 
plating, green, red, yellow, etc., have the colored gold a 
little over one-third the thickness of your backing, or 
250 points dial screw gauge as against 600 points for the 
polished back. The two pieces should be well fitted, 
filed, scraped, etc., borax carefully and use highest 
quality solder; small pieces may be soldered with 
a regular blowpipe, but the large plates should be placed 
between two iron plates and put in a gas muffler or fur- 
nace, keeping the heat well under control, as at point of 
sweating there is danger of melting gold as well. All 
plating should be well annealed during rolling, and for 
small flowers, leaves, etc., may be rolled as thin as 60 
points. 



Matt Finish — To get the beautiful matt finish, work 
after leaving the chaser is put in a hot steaming solution 
of water and soda to remove the cement, washed out well 
and then covered with a paste of yellow ochre rubbed up 
well with water and borax; it is then carefully annealed 
and boiled out in the pickle (sulphuric acid and water) 
and dried in sawdust. Stock worn goods may sometimes 
be cleaned by dipping in cyanide of potassium, bicarbo- 
nate of soda, phosphate of soda, etc., but to make like 
new, the work must be rechased or matted and "fired." 



Pearl Cement — While there are some excellent pearl 
cements on the market, the strongest cement for the large 
baroque pearls, in fact, pearls of any size above a grain, 
is white shellac ; this has a coarser grain, is very tenacious, 
and is used by the finest platinum jewelers for fastening 
on the most expensive pearls. It is purchased in lumps 
from leading chemists and should be kept in jars under 
water; when wanted, take a piece and draw into thin 
strips over your alcohol lamp, discarding any that is ap- 
parently useless. 



HOW TO MAKE JE WELR Y. 211 

The use of Cuttlefish — Cuttlefish, by reason of 
the facility with which it is handled, is used in the 
casting of small work, rings and small ornaments, etc. 
It is best kept under a bench where there is a circula- 
tion of air and no dampness ; likewise, it must not be 
kept near a stove or steam pipes, as it will dry out and 
crumble in the taking of the impressions. The models 
used should be well smoothed, no sharp edges, and 
should be left a little heavier or thicker than desired, 
as the castings shrink a little. If a little more iullness 
is desired the model is "padded" with shellac. Just be- 
fore pouring the gold add a very few grains of pure 
zinc, this will cause the metal to run easier and lessen 
the possibility of porous spots and specks. Too much 
zinc will make gold pale and brittle. See that there are 
plenty of air vents and that the "gate" has good 
opening. 



Eating Copper out of Plated Wire — Hollow wire 
work drawn over copper is eaten out with a solution 
of nitric acid and water, using in 14-kt. or over equal 
parts, in 10-kt. or less use three parts water and one 
acid which must be chemically pure. In the case of 
a special pattern, as in a bracelet, where it is not econom- 
ical to use plating made specially, the gold is drawn over 
the copper wire which has been previously drawn to the 
size, less the difference in the thickness of the gold, and 
is then closely wound with iron wire to keep the seam 
from opening up and buckling in the subsequent shaping 
on the arbor. After shape and size is gotten the wire is 
unwound and the bracelet put in the acid ; add fresh acid 
every three hours, keeping slightly warm. In 10-kt. work 
especially, do not leave any longer in acid than absolutely 
necessary. Some manufacturers use a pounder to keep 
acid constantly stirring. The pounder is made by hang- 
ing a weight to a crank attached to the shafting, letting it 
strike bench as shaft revolves. 



2i2 HOW TO MAKE JEWELRY. 



How to Polish Platinum — Platinum work, after fine 
filing and well rubbing over with fine emery paper, is 
polished on a high speed polishing lathe, using "plat- 
inum bar tripoli" and finishing with "platinum rouge," 
Platinum may also be polished with the regular bar 
tripoli and bar rouge, but a much richer gloss and 
finish is obtained by the use of the special polishing 
ingredients first named. The regular tampico brushes 
and the felt buffs are used. The higher the speed the 
better are the results. Sometimes in broad surfaces a 
streak. will show. This is due to bad melting and mix- 
ing of possibly a portion of silver or iridium with the 
platinum. Go over the part with a highly polished 
bloodstone or steel burnisher and finish with the plat- 
inum bar rouge, using a felt buff. Pure platinum is 
soft, and is apt to "drag" in polishing, and it is there- 
fore necessary to have the article smoothed with the 
finest emery paper before sending to the polishing 
room. All of the finest diamond work is polished in 
this manner, and in the hands of a skillful and ex- 
perienced polisher the finish presents a deep, rich, glossy 
luster, closely resembling newly plated nickel work. The 
buffs and brushes used for platinum work must be kept 
separate, and the work well washed in soap water in 
which a few drops of ammonia are put before finishing 
with the rouge. 



Handling of Vermicelli or Filigree Work — Vermicelli 
or filigree work, i. e., plain surfaces ornamented with 
twist wire half rings, plain wire strips, shots, etc., 
is prepared and trimming charged on as follows : Work 
is tripolied or fine emeried, annealed and boiled out in 
the regular pickle and well rinsed in hot and cold 
water to remove all acid ; dry well and paint over lump 
borax well rubbed up with water ; do not get too 
thick so that the surface is lumpy ; now anneal with 
blowpipe, keeping the various pieces from touching. 
In applying the borax see that the surface is covered 



HOW TO MAKE JEWELRY. 213 

evenly. The writer uses his finger moistened with 
the borax and well rubs to get the surface clean from 
any traces of grease, shiny spots, etc. 

The twist wire rings are now prepared, the article is 
painted over with a solution of gum water made by 
dissolving gum "tragic" in water and the rings picked 
up with a small brush which is kept wet with gum 
water. When the piece is "charged" let dry, then take 
a brush (a tooth brush will do) and dip in your borax 
slate, hold over work and run your nail over the 
bristles, thus sprinkling work; avoid all excess, just 
enough to dampen. Have a metal solder box contain- 
ing file solder which has a stem running from it, 
through which the solder feeds. This stem is notched, 
and the finger nail scratching over the corrugated sur- 
face causes the solder to drop on to the moistened 
work. Be careful to charge the solder evenly. Now 
sprinkle again and solder before it gets too dry. 

In large factories, where, say, fifty ball hat pins are 
in work, the balls are stuck on steel pins and the 
points in a cake of soap. The balls are annealed in bo- 
rax, then given to girls who do the "charging," back to 
the foreman for sprinkling and charging of the solder 
and soldering. The borax applied to the brush for 
sprinkling is rubbed up very thin. The chief feature 
in vermicelli work is to have article thoroughly clean 
in the beginning and evenly and smoothly annealed in 
clean borax. All hollow work, after the preliminary 
annealing and pickling, should be thoroughly boiled in 
water in which a little powdered borax may be dropped 
to kill all the acid. Gum water must be pure and not 
too thick. A little thinner than the regular mucilage 
is about right. Bear in mind that the trimming is 
charged right on to the borax annealed work. 

* * * 

Recovery of Fine Gold — Commercially pure gold, 
approximately 24-karats fine, is recovered from alloyed 
gold by first adding fine silver so that fine gold will be 
one fourth of the weight. In other words, add silver 



2i 4 HOW TO MAKE JEWELRY. 

so as to make 6-karat gold. If, for instance, you have 
ioo pennyweights of 14-karat gold, and knowing that 
there are 58 1-3 pennyweights of fine gold in this, we 
add 133 1-3 pennyweights of silver, this with the 41 2-3 
pennyweights already with the gold makes 175 penny- 
weights of alloy to 58 1-3 pennyweights of gold, so 
that we have three times as much alloy. Melt and 
mix well, then either granulate by pouring into a large 
tub of cold water, which is vigorously stirred by a 
helper, or pour into a plate ingot and roll thin. Place in 
a bowl or evaporating dish on sand bath. Cover well with 
1 part nitric acid C. P., to 2 parts water, keeping a good 
heat. As the silver and other alloys are taken up in the 
acid the gold will be precipitated to the bottom in a form 
of a reddish muddy powder. The American Oil and 
Supply Co., of Newark, N. J., furnish a regular parting 
acid. Pour off and add fresh acid from time to time un- 
til all action ceases. Wash well with hot water, using 
several washings, then pour in a solution of 1 part sul- 
phuric acid to 9 parts water. This will bring up gold a 
clean, pure red color. It is now washed well again, dried 
on the sand bath, collected into a new, clean cruci- 
ble and melted. To get chemically pure gold involves a 
number of operations, and an equipment making it im- 
practical for the average jeweler to attempt. The latest 
process is using a hydrochloric acid bath with two large 
bars of commercially pure gold as anode and cathode, 
A current being turned on, the gold is deposited on to the 
cathode chemically pure, all traces of platinum, iridium, 
etc., remaining in the bath, the baser metals, lead, tin, 
iron, antimony, etc., being destroyed in the solution. 
Commercially pure gold, if carefully gotten out, will test 
23 9-10 karats fine, or better. 



Rose Gold Solution — A rose gold solution is made 
by adding copper to the regular gilding bath. This 
copper can be purchased from the larger chemical 
houses in cyanide form, simply getting cyanide of cop- 



HOW TO MAKE JEWELRY. 215 

per; or carbonate of copper may be gotten from any 
supply house. The cyanide copper powder may be put 
directly into the bath, but the carbonate is first dis- 
solved in water in which cyanide of potassium has been 
previously dissolved. A good copper cyanide solution 
consists of carbonate copper, y 2 lb. ; water, 1 quart 
(boiled and cooled) ; mix together and add small pieces 
of cyanide potassium occasionally, until all the copper 
is taken up in the solution. Carefully add this to the 
Roman bath until deposit shows pinkish red. Bath 
should be hotter than for gilding. Current from 3 to 5 
volts. Relieve with glass brush. 



216 HOW TO MAKE JEWELRY. 



CHAPTER XLIX. 



POLISHING AND BURNISHING. 

Methods and Mediums Employed— The Shop Equipment 
Necessary or Desirable — Brushes, Buffs, and Laps— Tub- 
bing - and Tumbling— Boiling Out Before Burnishing — 
Lubricants for Ball-Burnishing. 

WORK for polishing as it leaves the jeweler's 
hands should be fine emery papered, using No. 
i paper. The principle of polishing simply 
consists in getting all scratches or marks out. Years ago 
powdered rottenstone and oil was the medium; now a 
preparation put up in bar form and called bar tripoli is 
used for most work. Powdered tripoli and oil is also 
used. This powder cuts much quicker than the rotten- 
stone, and after rouging the finish is just as good. 

Large shops and factories are equipped with polishing 
lathes having suction blowers to draw away every particle 
of dust, polishing material, etc., as it flies off the brush or 
buff and deposit it in a large bin or can, where it is col- 
lected at intervals, burned, and the gold or silver recov- 
ered. In addition to making it much more healthful, and 
a more desirable position for the polisher, the precious 
metals recovered more than pay for the cost of installing 
the blower. 

In the matter of buying outfits there are several first- 
class concerns in Providence and New York who will be 
glad to send any one interested illustrated booklets, cir- 
culars, etc., of new and second-hand polishing lathes with 
or without the blower. 

The spindle should run very fast to get best results, 
and for most work not to be lapped brushes are used. 
These come in various sizes, those from 2 T / 2 inches to 3^ 



HOW TO MAKE JEWELRY. 217 

inches diameter being the most popular. See that the 
brush is well charged with the tripoli. Work should be 
kept moving while against the brush, and may be held in 
a piece of leather, as the friction soon heats it rather too 
warm to hold. A very few moments suffice to polish out 
scratches. 

On flat work a wood lap is mostly used. These laps 
are made out of maple, and are purchased from supply 
houses and screwed on to a plate which fits to spindle 
of lathe. Charge the face of the lap with the bar tripoli 
and after lathe is running press the work flat against the 
lap. As before said, work must first be smooth. 
• For other work, presenting a more or less flat surface, 
felt buffs give the best results. These come in various 
widths and diameters ; those running % inch to Y inch in 
width and about 3 inches diameter are most used for gen- 
eral run of jewelry. The felt buffs also "break" the sharp 
edge after metal or wood lapping. 

To get inside of small places, where a brush or buff 
cannot reach, recourse is had to thrums. These are made 
from leather, chamois strips, etc., or sometimes string is 
used. In fine platinum and gold work an expert jeweler 
who can properly polish a finely and delicately made piece 
of diamond work is able to command good wages. 

When the work has been carefully polished it is washed 
out in a strong soda or lye solution. There are various 
cleansing solutions on the market, but ordinary washing 
soda, in boiling hot water, with a dash of ammonia, will 
make an excellent wash. Get a stiff tampico washout 
brush, rub on soap, and after work has boiled a few min- 
utes remove and place on a board in the sink and tap the 
work with brush to loosen any particles of polishing paste, 
rinse well and dry in hot sawdust. Ovens and blowers 
are also used for rapidly drying the work. 

To get the beautiful luster or high polish, the work is 
now gone over again, using bar rouge of varying fineness 
or quality; for gold work it pays to use the best quality. 
There are special preparations for polishing platinum 



2.i8 HOW TO MAKE JEWELRY. 

which may be purchased from supply houses ; the brushes, 
buffs, etc., are the same, and the same methods are fol- 
lowed as described above. While speaking- of platinum, 
some houses use nothing but common whiting on the final 
polishing. 

After work is first brushed or buffed with the bar rouge 
the high luster is imparted by means of a cotton or flan- 
nel buff, called a rag wheel. A little powdered rouge, 
mixed with wood alcohol, is applied to work sometimes. 

Wash out work again as before, using clean solution, 
dry in hot boxwood sawdust. Shake or brush out the 
sawdust well and finish work by touching lightly against 
a clean cotton buff, running at high speed. The polishing; 
buffs and brushes should be kept separate and in a cov- 
ered box. 

The factories are now using tumbling barrels and tub- 
bing machines for polishing a. great deal of work. The 
barrels work on an axis and are partly filled with mix- 
tures of sawdust and polishing material. 

The tubbing machine turns laterally, steel balls and a 
solution of ivory soap and water effecting the burnishing, 
and a very good finish is obtained, especially in work to 
be English finished, as after gilding, the steel balls burnish 
the colors, giving a rich and a harder luster than that got- 
ten by buffing. Different shops use other mixtures in 
their tubs : soap bark, borax, tallow, bran water, etc. ; but 
all that is wanted is a lubricant for the steel balls. 

Hand burnishers, made of steel, agate and bloodstone, 
come in very handy for some work. The steel burnisher 
must be kept bright by rubbing on a piece of chamois and 
rouge or by polishing on the rouge buff occasionally. 
For the agate and bloodstone burnishers putty powder is 
used. 

Work for burnishing should first be polished. For a 
lubricant use either soapy water (clean) or a little clean 
bran water, made by steeping a tablespoonful of bran in 
a cup of boiling water. Place work on a clean block of 
wood covered with cloth and keep wet while burnishing. 



HOW TO MAKE JEWELRY. 219 



Do not press too hard. In silver plating spoons, etc., va- 
rious curved burnishers are needed. These can be pur- 
chased at jewelers' supply houses. After burnishing, the 
work is finished by soft buffing with powdered rouge and 
alcohol. 

To get extra heavy plating, work may be plated and 
burnished, repeating the operation several times, if de- 
sired. This gets a much more durable deposit than if 
work received one long dip and only one burnish. Of 
course, in this case the soft buffing is only done after 
final burnishing. 

The whole secret in polishing is to get all the scratches 
out without making the pieces of jewelry any lighter than 
absolutely necessary — not like an alleged lapper and pol- 
isher who applied for work, saying he was an expert on 
fine goods. Being put to work, he lapped away the side 
of a silver cigar case about the thickness of a fifty-cent 
piece. Upon inquiry, he was found to have worked for- 
merly in a flatiron foundry. 



INDEX. 



A. 

PAGE 

Accounts, metal, . . . . 130 

Acetic acid for dissolving 
aniline, . . . . . . 141 

Acid coloring, . . . . 59 

" for testing gold, . . 125 
" fumes, antidote for, 66 
" " to avoid, .. 64 

" partiDg, . . . . 115 

" pickle 23, 203 

Alcohol, heating by steam, 139 

Alloys, copper for, . . . . 13 

gold, ... .. 10-18 

(See also "Solders.") 

" Guinea, .. 12,13 

" hard, 12 

" how to put in crucible, 6 
" for acid coloring, 14k, 60 
" die work, . . 12 

" enamel work, 

12, 16, 96 

" eyeglass frames, 197 

" half pearl work, 151 

" " pearl-pave, . . 183 

" wire, .. ..24 

" karat, 10-k and 14-k, 199 

" knife edge, . . 12 

" of coin gold, . . . . 142 

" silver, . . . . 68, 70 

" pale, . . . . 12, 13, 151 

" prepared, on market, 13 

" ring, 142 

" silver-platinum, .. 71 

" stiff, 12 

" tough, 12 

" variegated, .. ..10 

Amber varnish on engraved 
ivory, . . . . . . . . 141 

American Oil and Supply 

Co., 214 

Ammonium chloride, 6, 28 

for 
platinum solutions, 120, 126 



PAGE 

Ammonium sulphide, . . 78 
Amy 1 acetate,. . .. ..56 

Aniline on engraved ivory, 141 
Annealing, . . . . . . 8 

(See also "Melting,") 
" on sheet iron 

forms,.. ..183 

" plated stock, . . 21 

silver, .. ..9,70 

wire, .. 8,24,183 
Anodes for gilding, . . .. 52 

Antidotes for acid fumes 

and other poisons, 66, 67 

Anti-oxidizing fluids, . . 35 
Appendix, " . . . . . . 202 

Aprons cleaned by the fac- 
tory, 139 

Aqua regia for dissolving 

gold, 125 

Aqua regia for dissolving 
platinum, .. .. 80,106 

Arrow design, . . . . 192 

Arsenic in green gold solu- 
tions, . . . . . . . . 50 

Asbestos string, . . . . 166 

Asphaltum for resists, . . 57 
" on engraved 

ivory, . . . . 141 

"Azures," 151 



B. 

Backing, base metal for, 
" stock for, . . 
" where to buy, 
Balancing metal accounts 
Barium sulphide, 
Baroque pearls, cost of, 
" " to drill, 

Barrels for washings, 
Beading tools, to make, 
Beeswax for drawing wire, 



19 

11 

19 

130 

80 

145 

155 

122 

150 

24 



Index. 



221 



PAGE 

Bench filings, recovery of, 

113, 119 
Berge, crucible dealer, . . 7 
Bichromate of potash for 

testing silver, . . . . 72 
Bisulphide of carbon, .. 77 
Black and gray finishes on 

silver, . . 78, 82 

" enamel on silver, . . 86 
" iridium, . . . . 98 

" nickel solutions, . . 82 
". paint for engraved 

ivory, 141 

Blowers, suction, . . . . 216 

Blowpipe for soldering, . . 34 

" oxy-hydrogen, .. 99 

Blue-black finish on silver, 78 

" " gun metal finish, 83 

" dip for silver plating, 76 

" gold, 11 

Boracic acid, when solder- 
ing, 35, 201 

Borax, as flux, . . • • 9 

" in soldering, 34, 38 

Bow drill, . . . . 153, 155 

Bowknot design 192 

Bracelets, filled with cement 
or sand, . . . . . . 22 

Bran water, . . . . . . 46 

Brass in solders, . . 28-29 

Bright silver solution, .. 76 
Bronze powders, . . . . 58 

Brushes for polishing, . . 216 
Brushing, scratch, . . . . 46 

Buffs, cotton, 218 

" felt .217 

Burnishers, hand, . . . . 218 
Burnishing rings, . . • • 200 
Burr or frazer, . . . . 150 

"Butler" finish on silver, 78 
Butter of antimony, . . 80 

Buying of stones, . . • • 144 



C. 



Cadmium in solders, 27, 28 

CalciumLightCo., New York, 99 
Camphor to prevent tarnish- 
ing, . . • • • • . . 55 

Carbon bisulphide 77 

Casting in cuttlefish, .. 211 

Celluloid for lacquer, . - 56 
Cement filling in bracelets, 22 
Cementing and stringing 

pearls, . . 153, 157, 170 

Cements for pearls, . . 156, 210 



PAGK 

Chain links, refilling and 

renewing, . . 205, 206 
" making, . . . . 167 

" rope, 25 

Chains, neck, 169 

" repolishing, . . 207 

" to make,. .. 167-170 

Charcoal, for meiting, . . 7 

Charms, 188 

Chemically pure gold, . . 127 

Chloride of gold, .. -.46 

" " lime, to remove 

tarnish, . . 55 

" " platinum , to 

make, . . • t 106 
" " platinum , on 

silver,.. .. 80 
" silver, . . 69, 116 
" " zinc for solder- 

ing, . . .36 
Claw or cramp work, . . 150 

Cleansing tarnished ware, 55 
Clips for eyeglasses, . . 196 

Clover design, .. . - 175 

Cluster setting 162 

Coin gold, to alloy, . . • • 142 
Coloring, acid, . . . . 59 

" acid, 14-k alloy for, 60 

" chains, .. •- 169 

" gold, see "Gold 

electroplating." 
" gold plating, . . 210 

" room, precautions 

in, . ..64 

" soft solder, .. 203 

" with soft stones, 40 

Colors, variegated, in alloys, 10 

Copper carbonate, . . . • 52 

" cyanide, to make, . . 54 

" cyanide solution, 76 

" electroplating and 

dipping, . . 76, 82 

" in gilding solutions, 52 
" shot and wire, for 

alloying, . . . . 13 
" sulphate, for color- 
ing solder, . , 203 
" to remove from 

plated ware, 23, 211 
Copperas, for gold solutions, 

118,120,126 
" in the wash bar- 

rels, .- -.123 
Cost of platinum jewelry, 106 
" " precious and semi- 
precious stones, . . 144 
Costs, figuring, . .. 131-140 



222 



Index 



PAGE 

. 135 
. 150 
. 88 
. 18fi 
61 
6 



Costs, (labor) to reduce, . . 
Cramp or claw work, 
Creping enamel, .. 
Cross, Maltese, 
Crucibles, for acid coloring, 
44 " melting gold, 

44 " melting-plat- 

inum. 
Current for gilding,. . 
Cutting off a ring, . . 

44 small wire rings, 
Cuttlefish, 
Cyanide, "free," in gold 

solutions, 48, 53, 54 
" "free," in silver 

solutions, 
" of gold, .. 

" " silver, . . 

*f poisoning, 

44 solutions, reco- 

very of gold and 
silver from, . . 



99 
46 

164 
25 

211 



75 
47 
75 
67 



118 



D. 

Designs, arrow, . . . . 192 

44 bowknot, . . . . 192 

44 chain, .. ..168 

enameled work, 171-175 
44 flowers and leaves, 

171-175 
44 for platinum work, 

104, 109-112 

44 44 pins, 175, 190-193 

44 plaques, .. 193 

44 " rings, .-. 160-162 

44 horseshoe, . . . . 181 

Designers and jewelers, type 

of men, . . . . 105 

44 hints to, . . . . 1-5 

in platinum work, 103 

44 supplies for, 3, 104 

Diamonds, to buy, . . . . 144 

44 when heated. . . 42 

Dies and lathes for engine 
turning, . . . . . . 97 

Die work, alloy for, . . . . 12 

"Dipping" solution, silver, 
without current, . . . . 73 

Dishonesty among work- 
men, . . . . . . . 128 

Dissolving gold in aqua 

regia, . . . . 125 

44 platinum in 

aqua regia, 80, 106 
Drawing and working wire, 24 
Drawings in platinum work, 103 
Drill, bow, . . . . 153, 155 



, PAGE 

Drilling pearls, ""•.." '..153 
work for pearls, 149 
Drills, ,. .. i. 147,154 
44 hardening and tem- 
pering, . . . . 149 
Dynamos for electroplating, 46 



E. 



Eating copper out of hollow 

wire, . . - . . . 23, 211 
Electrolytic process for re- 
fining gold, 127 

Electroplating solutions, 
see "Gold," "Silver," 
44 Nickel," etc. 
Electric current, gilding 
with, . . . . . . 46-55 

Emblems, . . . . . . 186 

Enamel, black, on silver, 86 
44 etching, .. 88,98 
44 fluxing, . . 93, 98 

41 grinding, . . . . 91 

44 over engine turn- 
ing, . . 94, 96 
pink, .. ..97 

44 to remove, . . ..92 

44 to solder 201 

44 transparent, 94, 97 

Enameled chains, . . . . 170 

14 flower designs, 174 

Enameling, . . . . 91-98 

gold for, 12,16,94-96 

Engine turning lathes and 

dies, . . 97 
44 " under en- 

amel, 94, 96 
English finish, . . 47, 54 

Engraved ivory, . . . . 141 
Etching enamel, . . 88, 98 
Etruscan work, acid color- 
ing on, . . 60 
44 " half-ring 

trimming, 25 
Excelsior in wash barrels, 122 
Expenses, shop, . . . . 132 
Eyeglass frames, . . . . 194 



F. 



Ferrules, metal, on wood, 207 
Figuring shop cost, . . . . 131 
Filigree or vermicelli work, 212 
Filings, recovery of metal 

from, 113, 119 

Filtration of washings, filter 

presses, etc., . . . . 122 



Index. 



223 



PAGE 

Findings, economy in buy- 
ing, .... •• 136,174 
Fine gold, to prepare, . . 115 
Finishes, black and gray, 

on silver, 78-82 

" on gold, see 
"Gold electro- 
plating." 
" on silver,.. 71,72 

Flat plates 188 

Flower work, 171 

Fluids for soldering, 31-3(5, 201 

Fluxes, t>. 7 

" for refining lemel, 113 
" " silver, .. 9, 69 

" in making solder, 28 
" used in U. S. Assay 

office, . . • • 7 
Fluxing enamel, .. 93,98 
Formulas for solder, . . 29 
Frazer or burr, • . ■ • 150 
Free cyanide in gold solu- 
tions', 48, 53, 54 

Free cyanide in silver solu- 
tions, 75 

French gray on silver, 78, 80 
Frosted platinum, .. ..106 
Fulminating gold, . . . . 47 
" " explo- 
sions due to, 65 
Fumes from acid refining, 121 
" how to avoid, . . 64 
Furnace for melting plat- 
inum 99 



G. 



Gamboge for resists, . • 57 

Gelatine in engraved ivory, 141 
Gilding, see "Gold electro- 
plating." 
Gold alloys, all kinds, 10-18 
(See also "Alloys.") 
" «• for enamel 

work, 12, 16, 94-96 
" " for wire, . . 24 

" " "Guinea," 12, 13 

" " 18-k from coin 

gold, .. 142 

" and silver, to recover 

from cyanides, . • 118 
" and silver, to recover 

from filings, .. 119 

." and silver, to recover 

• from scrap, • • • • 113 

*' ... as refined in theU. S. ." 

Minis, - . ,. • • • 127 



PAGB 

Gold backing on platinum 

work 104 

" chemically pure, . . 127 
" chloride, to make, . . 46 

" coin 142 

" coloring, see "Gold 

Electroplating." 
" electroplating, 46-55 

" " English 

finish, 47, 54 
" " green 

gold, 49 
" " green 

gold 
"smut," 50 
" " 14-k, .. 50 

" " red gild- 

ing, 52-55 
" " roman, 47 

" " rose, 

47, 48, 214 
" enameling on,. . 94-96 

" inquartation of, 114, 214 
" melting point of, .. 139 
" plating stock, . . .. 19 
" to anneal, • . 8, 183 

" to dissolve, . . . . 125 
" to keep track of, . . 128 
" to melt, . . . . 6-8, 142 
" to precipitate, . . 118, 126 
'« " " with 

oxalic acid, 127 

" to roll, 143 

" to recover, 118, 126, 213 

" to test for purity, 125, 126 

" tubing, plated, . . 21 

Granulating metal, . . . . 115 

Gravers, to polish, . . . . 149 

Gray finishes on silver, 78-80 

Green gold, . - v ... . . 11 

Green gold finish, .. ..49 

Guinea alloy, . . . • 12, 13 

, " " in refining 

lemel, . . 114 

Gum tragacanth, . . 34, 39 

Gun metal finish, . . . . 83 

" " " to remove, 85 

H. 

Half-pearl work, . .. 147,151 
>.' " " stock and 

alloys for, 151; 
Half-ring trimming, .. . . 25 

Hard alloy . . , 12 

Hard andsof t platinum, 101, 103 
Hardening drills, . . 149^155 



224 



Index. 



PAGE 

Heating stones, danger of, 

42, 44, 200 

Hollow pins, 182 

Hollow ware soldering, . . 30 
Hollow wire, filled with 

sand or cement, 22 
" wire, eating copper 

out of , . . . 211 
Horseshoe jewelry, . . . . 181 
Hydrofluoric acid on en- 
amel, . . . . • • 88, 98 
Hydrogen for melting plat- 
inum, . . . . • . . . 99 



Indiaink on engraved ivory, 142 

Ingots, 8, 9 

Inquartation of gold, 114, 214 

Iridium black, . . . . 98 

" in platinum, 101, 103 

" recovery of , .. 121 

Iron electroplating,. . .. 83 

" silver plating, . . . . 76 

" sulphate, see "Copperas." 

Ivory, engraved, . . . . 141 



J. 



Jewelers and designers, type 

of men, . . * . . . . 105 

Jewelry designs, see "De- 
signs." 
platinum, .. 103-112 
" silver, . . . . 86 

Jointing heavy rings, . . 208 



K. 



Karat gold, see "Alloys." 

" meaning of term, . . 14 
Keeping track of gold, . . 128 
Knife-edge alloys, . . . . 12 



Labor and time-savers, . . 138 
Labor costs, reducing, . . 135 
(See also "Costs.") 

Lacquer, 56 

" to remove, . . . . 57 
" on engraved ivory, 141 

Laps, wood, 217 

Lathes and dies for engine 

turning, 97 

Lead pipes in enameling 
sinks, 122 



PAGE 

Lemel refining, . . . . 113 
Light-weight "leaders," . . 137 
Lime in the filter press, . . 124 
Linking chains, . . . . 170 
Links, enameled, . . . . 170 
Litharge on engraved ivory, 141 
Liver of sulphur, . . . . 78 
Lorgnette frames 194 



M. 



Magnesia, . . . . 57, 151 
Magnet for cleaning filings, 

113, 119 
Making a line of pins, 176, 181 

194 
171 
147 
186 
165 
162 
57 
156 
210 
144 
142 
6,7 



eyeglass frames, 
" flower work, 
" pearl jewelry, 
Maltese cross,. . 
Mandrel, 
Marquise rings, 
Mask, brass, . . 
Mastic for pearls, 
Matt finish, 
Melees, diamond, 
Melting coin gold, 
" gold alloys, 

(See also "Allpys" 
and "Annealing.") 
" platinum, . . . . 99 
silver,.. 8,69,70,72 
Mercury dip for silver plat- 
ing, 76 

Metal ferrules on wood, . . 207 
Metallizing silver chloride, 

69, 116 
Meter for platinum melting, 99 
Mint, U. S., method of refin- 
ing used by, . . . . 127 
Mixing molten metals, . . 7 
Modeling wax, . . . . 173 
Molding with cuttlefish, . . 211 
Mounting pearls, etc., . . 151 
Mourning jewelry, . . . . 81 

N. 

Neck chains, 169 

New York Calcium Light Co., 99 
Nickel solutions, black, . . 82 
" -silver alloys, . . 70 

" sweated on platinum 101 
Nitrate of silver for black- 
ening ivory, 142 
44 " " to make, 49, 74 
Nitric acid pickle, . . 23, 37 
" for parting, 115,214 



Index. 



225 



PAGE 

Nitric acid for refining silver, 69 

• " " " testing silver, 72 

Novelties, 190 

O. 

Ochre, . . 35, 39, 43, 205, 207 

Oxalic acid in refining, . . 121 

" " to precipitate 

gold .. ..127 
Oxford eyeglass frames, . . 194 
Oxidizing silver, . . 78, 81 
Oxygen for platinum melt- 
ing, 99 



P. 



12, 13, 



151 
172 
141 
214 
115 
131 
210 



the making 



147 

157 
156 
145 
153 
149 
170 



Pale alloys, 
Pansy design,- . 
Paraffin e and aniline, 
Parting acid, . . 

" gold and silver, 
Pattern book, 
Pearl cement. 
" jewelry 

of 

" ropes, 

Pearls, cementing, . . 
" cost of , 
" drilling, 
" drilling for, . . 
" on chains, 
" peg for fastening, 

156, 184 
' ' polishing with pearls 

in, 55 

" riveting, . . . . 156 
" stringing, . . . . 157 
Pickle for soldering, . . 37 

" nitric acid, . . 23, 37 
" sulphuric acid, 

37, 115,203, 214 
Pin tongues, alloy for, . . 12 
Pink enamel, . . . . . 97 

Pins, making,. . . . 176, 181 

Plates, flat, * 188 

Plated wire 22, 211 

Plating solutions, see "Gold," 

"Silver," "Nickel," etc. 
Plating stock, . . . . 19 

Platinum, alloys with iri- 
dium, . . 101, 103 
alloys with silver, 71 
xnode for gilding, 52 
chloride, to 
make . . 80, 106 



PAGE 

Platinum, chloride on 

silver, . . 80, 81 
" electroplating, 106 

" hard and soft, 

101,103 
" jewelry, cost of, 106 

" " designs, 

104, 109-112 
hand 
labor on, 108 
" with gold 
backing, 104 
u " working 

on, 103-108 
" melting,.. .. 99 

oxidize finish,. . 80 
" sand-blasted, . . 106 

" solder, . . . . 102 

" sweated on 

nickel, .. 101 

" to polish, . . 212 

" to refine, . - 101 

" to recover, 120, 126 

Plaster forms, . . . . 172 

Plaque designs, . . 191, 193 

Pliers for drilling pearls, . . 153 

Poisons, antidotes for, . . 67 

precautions against, 64 

Polish, to protect with be- 

racic acid, 201 

Polishing and burnishing, 

216-219 
" gravers with 

emery paper, 149 
lathes, .. ..216 

" platinum, . . 212 

" with half-pearls, 55 

Polishings, sweeps, etc., 
refining of , . . . . . . 117 

Pounder for stirring, . . 211 

Pouring melted alloys, . . 8 
Precious stones, . . . . 145 

Precipitating gold with cop- 
peras, 118, 126 
" platinum, . . 126 

" silver chloride, 116 

Prices of precious stones, 144 
Princess rings, . . . . 162 

Production cost, . . 131-140 
Pumice powder, . . . . 79 

Pump drill, 147 

Q. 

Quality stamp, . . 11, 30 

Quenching dies, .. .. 140 

" silver, .. ..140 

Quicking dip, 76 



226 



Index. 



R. 

PAGE 

Recoloring, acid, . . . . 59 
Reconstructed stones, cost 

of, 145 

Recovery of gold, 118, 126, 213 
" " " from cya- 

nide solu- 
tions, . . 118 
" " " from filings, 119 

" " «' '• scrap, 113 

" " silver, . . 69, 116 

" " " from cya- 

nide solu- 
tions. . . 118 
" " " from filings, 119 

" " " scrap, 113 
'■ " platinum, 

101, 120, 126 
Red gilding, . . . . 52-55 

Red gold, 11 

Reducing labor costs, . . 135 
Refilling and renewing 

chain links, 205 

Refining gold in U.S. Mint, 127 

(See also "Recovery.") 

" gold electrolyticly, 127 

lemel, .. ..113 

" mixed scrap, . . 113 

" platinum, 101, 120, 126 

" polishings. . . 117 

silver scrap, . . 69 

" sweeps, etc., . . 117 

U.S. Assay Office, 117 

" Wohlwill process, 127 

Remelting alloys, . . . . 139 

" " to avoid, 7 

Removing gun metal finish, 85 

Repairing chains, . . . . 205 

" stone-set work, 42 

Resists for two-color work, 56 

Ribbons in pins, etc., . . 190 

Rings, jointing 208 

" gypsy, 39 

" 18-k alloy for, .. 142 

" making all styles of, 159 

" sizing and soldering, 164 

" spring, . . . . 22 

" to remove from finger, 164 



" wire, 


. 25 


Riveting pearls, 


. 156 


Rolling metal, 


. 8 


" 18-k gold, . . 


. 143 


" plated stock, 


. 21 


" wire, 


8 


Roman gold solution, 


. 47 


Rope chain making, 


. 25 


Ropes of pearls, 


. 157 



PAGE 

Rose gold coloring solution, 

47, 48, 214 
Rose water, to neutralize 
poisons, . . . . . . 65 

Rouge, bar, . . . . 217, 218 

S. 

Sal ammoniac, . . 6, 28 

" " for platinum, 

120, 126 
Saltpetre in melting, . . 8 

Sand bath, to make, . . 116 

" blast on platinum, . . 106 
" filling in bracelets, .. 22 
Satin finish on black enamel, 88 
Sautoir chains, . . . . 169 

Saving time and labor, 135, 138 
Sawdust, boxwood, . . 218 

Scrap, recovery of gold and 

silver, 113 

" silver, .. 69 

Scratch-brushing, . . . . 46 

Screens for filtering wash- 
ings, . . . . . . . . 122 

Semi-precious stones, cost of, 144 
Setting soft stones, . . 39,40 

" stones in platinum, 151 

139 

210 

156 

57 

39 

131 

141 

13 

129 

160 



Shellac, dissolving, . . 
" for cement, .. 
" " pearls, . . 
" " resists, . . 
" " stone setting, 
Shop cost, to figure,. . 

" problems, 
Shot copper for alloying, 
" system of checking, 
Signet rings, 
Silicate of sodium on en- 
graved ivory, . . . . 142 
Silver and its alloys, 68, 71 
" annealing, . . 9, 70 
" black enamel on, . . 86 
" finishes on, 78, 82 
" chloride, to reduce, 

69,116 
" cyanide, .. 49,75 

" jewelry, . . . . 86 

" melting, .. 8,69 

" nitrate on engraved 

ivory, . . 142 
" " to make, 49, 74 

" oxidizing, . . 78, 81 

" plating, . . 50, 73 

" " base metals, 76 

" " bright, . . 76 

" " mercury dip 

for, . . 76 



Index. 



227 



Silver-platinum alloys, 
" quenching, 
" recovery from acid 



PAGE 

. 71 
. 140 



116 



118 



Soldering, 



solution, 
from cya- 
nide solu- 
tion, 

" " from tilings, 119 

" " " scrap, 

69, 113 
" ' solders, . . 71, 72 

" "spitting," .. ..70 
" sterling, .. ..68 

" "strike," .. ..76 
" testing, .. ..72 

" to remove from fine 

gold 125 

Sinks for washing, . . . . 122 

Sizing and soldering rings, 164 
Slate borax, . . . . . . 34 

Soda for washing work, . . 217 
Sodium silicate on engraved 

ivory, . . 142 

Soft solder, 204 

" " to color, . . 203 

" to remove, . . 45 

" stones, coloring with, 80 

setting,.. 39,43 

.. 34-41,198,203 

and sizingrings, 164 

and stone setting, 38 

blow-pipe, . . 34 

fluids, . . 34, 201 

rluxes, . . . 34 

hints, 34-41, 198, 203 

nests, . . 37, 208 

pickle, . . . . 37 

plated stock, 20, 21 

tableware, . . 203 

to prevent joints 

from, . . 36, 39 

twist wire, . . 38 
with boracic acid, 

35, 201 
" borax, 34, 38 
" Borumjunk, 34 
" ochre, 35,39,205 
" Venice tur- 
pentine,.. 36 

" zinc -muri- 
atic - acid 
mixture, 

36, 204 
and the quality 

stamp, . . . . 30 
brass in, . . 28, 29, 200 
cadmium in, 27, 28 



Solders, 



PAGE 

Solders, copper for,.. .. 26 

"' formulas for, 16,29,32 

gold,.. .. 16, 17,26 

lead in, . . . . 204 

" platinum 102 

" quality to use, 

17, 27, 30 

" silver, . . 71, 72 

" soft, to make, . . 204 

" to color, .. 203 

" to remove, . . 45 

" tin in, . . . . 204 

" to make, .. 26-29 

" " " from karat 

scrap, . . 200 

" " small 

quantity, 200 

" zinc in, . . . . 28 

Solutions for electroplating, 

see "Gold," "Silver," 

"Nickel," etc. 

Solution for stripping, . . 208 
" (i »< g Un 

metal, 85 

Specialists, 136 

Specialty shops, . . . . 135 

Spit-stick 149 

"Spitting" in silver, . . 70 

Split pegs for pearls, . . 156 

Spring rings 22 

Stamp, quality, and effect 

of solder, 30 

Steel, Stubb's, . . 14.8, 150 

" balls, 218 

" to silver plate, .. 76 

Steam pipe in sink, . . .139 

Sterling silver, . . . . 68 

Stiff alloy, .. .. ..12 

Stirring device, . . . . 211 

Stock drill, 148 

Stock for half-pearl work, 151 

Stone-set work, to repair, . . 42 

Stones, scientific, cost of, . . 145 

" semi-precious, cost 

of 141 

" setting, .. 39,42,151 

" the buying of, . . 144 
" that stand heating, 42,200 
" protecting with tis- 
sue paper, . . 40, 43, 165 
"Strike" solution for silver 
plating, . . . . . . 76 

Stringing and drilling 

pearls, . . 153, 157, 170 

Stripping gun metal finish, 85 

solution, . . . . 208 

Stubb's steel, . . 148, 150 



228 



Index. 



PAGE 

Sulphate of copper electro- 
plating solution, 76 
' ' of copper for color- 
ing solder, . . 203 
" of iron, see "Cop- 
peras." 
Sulphide cf ammonia, . . 78 
" " barium, . . 80 

Sulphur, liver of, . . . . 78 
Sulphuric acid pickle, 

37, 115, 203, 214 
Supplies for designers, 3, 104 
Sweeps, polishings, etc., 

disposal of 117 

Systems of checking, . . 129 



Tableware, to solder, .. 203 

Tanks for washings, . . 123 

Tarnish, to remove,. . . . 55 
Tarnishing in show-case, to 

prevent, 55 

Tempering drills, . . 149, 155 
Testing gold, . . . . 125, 126 
" silver, . . . . 72 
Theft among workmen, . . 128 
Thin goods, unprofitable- 
ness of, 133 

Thrums, 207 

" for polishing, . . 217 

Tiffany rings, 161 

Time and labor savers, . . 138 
Tissue paper for protecting 

stones, ... 40, 43, 165 

Tools, making, . . 147-150 

Tough alloy, . . . . . . 12 

Transparent enamel, 94, 97 

Tripoli, bar, . . . . . . 217 

powdered 216 

Tubbing machines, . . . . 218 
Tubing, gold plated, . . 21 

Turpentine, Venice, for 

soldering, 36 
" Venice, to 

make, . . 202 

Twist wire, to make, . . 25 

" pins, .. ..183 

Two-color work, resists for, 56 



V. 



PAGE 

Vacuum cleaner, . . . . 138 
Variegated gold, . . . . 15 
Varnish on engraved ivory, 141 
Venice turpentine, for sold- 
ering, 36 
" " tomake, 202 

Vermicelli or filigree work, 212 
Voltmeter in electroplating, 

46, 52 

W. 

Wagner's American Pearl 
Cement, . . . . . . 156 

Wash barrels, 122 

Washings, filtration of, . . 122 

Water colors 3 

Wax for modeling, . . . . 173 
Wedding rings, . . . . 159 
Weighing for metal, . . 133 

Whole pearl pins, . . 184 

Wire drawing and working, 24 
Wire, ingots for, . . . . 8 
" twist, . . . . 25, 183 
Wohlwill process for gold, 127 
Workmen, theft among, . . 128 



Y. 



Yellow ochre, 35, 39, 43, 205, 207 



Z. 



Zinc as alloy of silver, . . 68 
" in alloys and solders, 
see "Allovs" and 
"Solders." 
" in solder and castings, 28 
" for recovering gold 
and silver from cya- 
nide solutions, . . 118 
" soldering rkiid, . . 36 
" to silver plate, . . .. 76 
" volatility of, .. ..68 






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